Production Mixer...how are you treated?

[Sound Chaser]

I am wondering how you are treated on set as a location recordist--production mixer.
Are you allowed the time and opportunity to do your job properly.
Does the AD, producer, Director, DOP accommodate your requests.
Do they treat you respectfully?

 

[Alex H.]

On professional sets, 90% of the time, I am treated as I should be. That means I am an equal part of the crew, given the time and resources needed (within reason) to get the job done. Of course, you reap what you sow.

The other 10% of the time, or less, I end up with a producer or director who doesn't have much respect for anyone but him/herself. There's one producer I used to work with occasionally who talked to the crew like we were 5 years old, always ran us into meal penalties without regard, and never once even thanked us for our work. She was the exception to the rule, though.

It really depends on the producer, director, DoP, or whomever... have they been trained to work with all crew as a team, or have they taught themselves (or learned from another) to be a complete turd to others in order to get what they think they want?

 

[nwstudios]

I am wondering how you are treated on set as a location recordist--production mixer.

Usually just like any other member of the crew. Its a team endeavor.

Are you allowed the time and opportunity to do your job properly.

Probably 50% of the day is waiting on camera and lighting

Does the AD, producer, Director, DOP accommodate your requests.
Do they treat you respectfully?

You should be dealing with the director. Usually.

 

[Sound Chaser]

Usually just like any other member of the crew. Its a team endeavor.

I've been on sets where makeup wastes time on extras but, they freak out if sound needs a lav adjustment

Probably 50% of the day is waiting on camera and lighting

True in lower budget productions. On professional crews, my boom op and I have had to run to keep up

You should be dealing with the director.

Never talk to the director unless you have a really important concern. It's the AD's job to facilitate your needs and free the director's mind from technical head aches.

 

[Kegan]

Why do you ask? Are you not treated how you think you should be on set?

Kegan

 

[Sound Chaser]

Why do you ask? Are you not treated how you think you should be on set?

Kegan

I am interested in other people's opinions and experiences on this subject.
Let's just say that I have only 4 years of experience in production mixing and 30 years experience as a sound engineer...the experiences are quite different.
For the record: Before you read too much into that, the one thing being a professional engineer teaches you is etiquette and dealing with the inherent culture of your industry. So yes I am acutely aware of film culture and go out of my way to work around and respect all of the different departments.

 

[Doc Bernard]

If I know my job, I expect to be treated like a professional. Not special, not privileged. But given the respect a professional deserves, and I give the same consideration to everyone else on set.

If I do not receive the professional respect I give.......I frankly say something, and have stood in front of a 1st AD and told her to do her job, and let me do mine. If they don't like it........fine. I have no problem expressing myself if there is an issue. If it gets bad enough, I tell them to become professionals or I walk. Accepting disrespect that is unjustified only encourages it to continue. Too many people think directoral staff is synonymous with dictatorial staff, LOL and usually these are the first-timers in the driving seat. But I always review my position, statements, and attitude first.

Give respect, and expect the same in return. No deviations.

 

[Victor Nhat Nguyen]

It seems like on smaller budget production, the sound guy is neglected. I was on set once where the dialogue went like this:

Director: " Camera rolling? "
Cam A: " Rolling "
Cam B: " Rolling "
Director: " Okay action "
Soundie: " uhh, can we get slate? "
( Smoke machine sound in the background)
Soundie: " You know we can hear the smoke machine right? "
Director: " yeah we're just gonna edit around that "

But hey, what do I know? I'm just a PA.

 

[GaryNattrass]

The best directors and !st AD's I have worked with have always been really good people managers, the arty awkward moody brigade tend to get less out of a crew if they treat them like dirt!

 

[Jema]

Usually I'm treated quite well. In my experience it's foremost about communication, so they know what to expect of you, and you of them. If you know going in that the locations are bad and little time will be given for sound to adjust anything, then there's little reason to complain and you just do what you can.

I think a more common problem on low-budget productions is to get paid what you're worth and have access to good equipment.

 

[davefisk]

I've always been treated well as I am the audio professional that is on the location. I've worked on Mocap stages where the mocap team would work through the night to make sure the Mocap stage was sensitive to my needs to get good audio. I felt really respected and special on that shoot.