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I was hired to do sound for a TV production, what do I do!

Well not exactly a TV production. Someone who works at the network, wants to make a pilot to a documentary show, which he can show the Board (as he put worded it), and hopes they will like it and want more.

But this is a TV network where I live and I was told the Board has RICH people on it. I told the guy who hired me, not get me but a sound person who knows a lot more about it, compared to my very beginner-ish level. He said that he wants me, cause I have good equipment compared to others, and that he knows me, and know I will commit professionally. I also owed him and I couldn't say no. And he talked me into saying yes, also cause it's a paying gig and I will get my foot in the door, or at least some kind of door. He will get his foot in too, if we help each other out.

But I feel that I am really not the right person for the job of course, but got to do the best I can. It's a documentary show which means they are going to interview people, all in one take only. So no retakes. I am going to tell him to also look for someone else, who will do it for free or the a cut of the pay, and I will consider options as well. But I think it will not do much good, and he is set on me. On the plus side though, since it's all one take, I won't have to do ADR which would be even more difficult. But there is also a con there as well of course.

I thought what I should do with the boom mic, is too use my Y splitter to create two tracks in case the sound screws up on one. The downside of this is that I was told before on here that doing that cuts down on the mic quality, and he wants really good quality to make a good impression with these people. But some have said on here that it doesn't cut down and it's the way to go. But that's just one dilemma.

Do you guys have any tips for me, on how to pull off this one shot deal, at all? Anything I may not know could help on doing something like this. Thanks.
 
I don't even know how to respond to this one. After all the months of questions and answers you're right, you don't know squat about how sound really works; you just don't yet have the ears or the chops.

Documentary sound is a whole world unto itself. If you are doing sit-down interviews you should really be using lavs, one for each subject and one for the interviewer. This means you will need a multi-track recorder if you have more than one subject, or you will need a mixer so you can mix on the fly. You'll need to know your gear inside-out, backwards and forwards; this is no time for on-the-job training! You'll need to know how to set the limiter(s) so you prevent extreme transients and without crushing the dynamic range. And a dozen other things.

What this really sounds like to me is that he's going to pay you the minimum amount he can get away with because he doesn't want to pay a real production sound mixer the going rates. (A quick Google shows quite a number of qualified PSMs in Saskatchewan.) This is foolish, IMHO, because this is a case where the sound is much more important than the visuals; there are NO retakes, no possibility of ADR. If the sound is FUBAR the whole project is FUBAR.
 
Yeah that's what I will tell him. I do have a recorder than do two tracks though. I will try to talk him into ADR as well, but he seems set that the first take is the best in interviews.
 
You're not listening; you CAN'T, repeat CANNOT do ADR when doing documentary work. It is entirely a one-shot deal. If you screw it up on location there is no way you can redo it. Documentary work is completely spontaneous once you have the situation set up - if you even have the opportunity to do a set-up at all. The best documentary PSMs have lots of audio ENG experience.

So get this through your head - you are making a documentary, NOT a film. There are (usually) no retakes. The camera will be set up, the audio will be set up, you'll get about 90 seconds to check audio levels and you start the interview. If you screw up the sound there will be no retakes, no ADR and no opportunity to fix it in audio post. You get one shot to get it right. If you f*** it up you have killed that portion of the project.

You are in WAY over your head; think this through VERY carefully before you commit.
 
I originally signed on as picture editor, but then the DP, who I met before, told the guy who is hiring us, that I have sound equipment, like the NTG-3 mic, and that I did all the sound for my short film. It's cause of that the guy wants me to do sound as well as edit the picture. He is dividing the pay, between a group of us, and I am going to suggest another sound person again when I see him. But the other members of the group, might not want their pay cut, to include another person. After the last meeting, I am almost certain they will not want that, they way two of them have been acting about it. I am okay with mine being cut though, if it means making a better impression with a better product.

I know that it's a documentary and that they are suppose to only get one shot, I just thought that by doing more, we would have better quality, and doing it for him and the project.
 
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For sure I always do. But I will be doing it in environments that are not exactly that quiet, and are not blanketed. Plus I can also tell the person to try to keep their voice at the same volume the whole time.
 
Yeah, but take some consolation in the fact that it's only a documentary. People will expect noisiness in the right areas, so don't let those noises make you think you're doing a bad job.
 
People will expect noisiness in the right areas, so don't let those noises make you think you're doing a bad job.

Actually, no; most audiences WILL NOT accept overly noisy audio. They are used to high budget productions that have excellent sound, even if they are documentaries. They don't care that the project was done on a shoestring or with inexperienced personnel, and neither will the supposed board of "rich" people; they only care about the final product. It may be an unfair, but they expect the same quality they get from big budget TV and narrative film. In fact, this board of "rich" people probably will be turned off by less than excellent production values; as investors they won't invest in less than excellence.

The other real issue is that Harmonica has no feel for audio; and he even admits it. I don't know about you, but I wouldn't want him doing the sound for my projects. If I was asked to do this project - and remember, I have 30+ years of audio experience in one form or another - I wouldn't take the gig unless they agreed to my equipment requirements. It's my reputation on the line, and I won't soil my reputation by producing garbage.
 
I told the guy who hired me, not get me but a sound person who knows a lot more about it, compared to my very beginner-ish level. He said that he wants me, cause I have good equipment compared to others, and that he knows me, and know I will commit professionally. I also owed him and I couldn't say no. And he talked me into saying yes, also cause it's a paying gig and I will get my foot in the door, or at least some kind of door. He will get his foot in too, if we help each other out.

You won't get your foot in the door and neither will he! You get your foot in the door by working hard, having a professional attitude, being efficient and creating professional quality work. Even if the guy who hired you is prepared to work hard, he seems to be missing the other 3 requirements!

You "owed him" and you're going to repay him by screwing up his sound?! What do you owe him for, did he shoot your dog or sleep with your wife? If you owe him a favour rather than revenge, the best way of repaying him is by convincing him he needs a professional PSM!

The first thing he needs to do is to get a copy of the network's delivery specifications, as there's no point even starting the project unless you know what you've got to deliver. Unless he produces a documentary which complies with the network's delivery requirements it can never be broadcast! Chances are he'll need to hire an audio post professional as well, unless you know what ATSC A85 is and have the equipment and expertise to comply with it.

G
 
Yeah I am trying to convince him to hire someone. I sent him some messages suggesting it again, but he hasn't gotten back to me. I hope he is not avoiding me and hopes I should show up that day, doing it myself still. I hope he takes it seriously and starts looking for someone.

I am learning as much as I can in the process, but I still get other projects I agreed to commit on with other people. They will not get in the way of this TV thing, but I do not have time for constant trial and error on learning sound, and he knows that I hope. It's still the same. I have the dials on the recorder, but don't quite understand how they work. I just know I keep turning them until it sounds RIGHT. But if an actor's voice changes through the shoot, I feel I may turn a dial wrong, in order to attempt to correct it.
 
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One hand: This is a decent opportunity.

Other hand: It will amount to very little if it black lists you.

My recommendation: Charge a minimal box fee for cost of equipment, and suggest that they bring someone on who's comfortable with your equipment and is better at sound than you. Suggest that they bring you on as an unpaid sound assistant, do all of the sound guy's bitch work, and learn everything you can. Treat this as a good learning opportunity, but understand that you're still learning.

Also, make sure to take the advice of Alcove and APE, because they know how these things work much better than I. I just like to solve problems.
 
Thanks. I pretty much have made these suggestions with other ones already, but the guy never got back to me. I think he may be purposefully ignoring it so I will show up on set to do it. I guess maybe the other guys will not want to a go along with me and take a pay cut for a new person to come on board probably.

If I get blacklisted, hopefully I will get blacklisted for sound only. I originally signed on as picture editor, and I mainly want to act, direct, and edit (mostly video editing, since I do not have audio down), as career goals. Hopefully blacklisting me based on sound will not affect my other aspirations, or will it!?
 
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Blacklisted means blacklisted - you don't work in any entertainment field anywhere. While I doubt that this particular situation would lead to something so drastic it's not smart to take chances.

Come on, don't you remember Nancy Reagan? (Actually, you're probably too young...)

JUST SAY NO!
 
Okay well last time we talked I offered to hold the boom perhaps, while someone else handled the field recorder but I don't know if I have enough booming experiencing either. And since this is a documentary and it's not rehearsed I won't know which ways the people's heads will be moving when I boom them. So I guess I should recuse myself of that as well. I'll just say I will edit the picture only and that the project will be ruined unless we get someone else. I guess he should get a new boom operator too. Now let's say I am on set helping out on some way, in the couple of weeks when this is suppose to happen. No one shows up for sound, and one of us will have to do it. Should I just abort right there, and not help the shoot along for the day? Refuse to pick up the boom, or anything?
 
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Yeah but I said I'd still help out on set for support. I do want to help out. He's helped me on my things on set as well, and actually saved my butt, on a couple of sections of my project, and I think he should get some sort of reciprocity. I could try to say there is no need to be on set, but he might want me to help do something. I feel I am betraying him since he's helped me out of jams.
 
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Yeah I know. It's just when people bailed on me when I was suppose to start my first short film, everyone on here told me to do it anyway and to not flake out on my actors. Now you're telling me to flake out on everyone. It's just seems like a hypocritical move. But I guess it's in the best interest, and I appreciate you telling me to do what's best. Thank you.
 
Just fucking do it! Have any of us considered the other dude's desires and aspirations? He knows H44 isn't an audio expert, yet he still wants him. Maybe he is working with what he's got! Gee, does that sound familiar to any indie filmmakers? Allow him to make his own decisions, right or wrong. H44, you've offered your advice, and he still wants you as his guy. You say you owe him, so make good on your debt! Do your absolute best, and learn from the experience. I'm sure the other guy will be doing the same.
 
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