My entire (15 year) career I’ve been hearing 1st ACs commiserating that some sort of autofocus technology will eventually make their jobs irrelevant, and it still might. I agree that mixers need to stay up to date with equipment keep up with current trends. As you mentioned the way sound is usually done has changed over the last 15-20 years. While the mix itself might not be as vital as it once was, the scope of the sound department where we now routinely have a dozen wireless booms+lavaliers out in the wild at any given point of time has increased. Every day I feel at certain points that three set of hands is too much and not enough. Having a full sound team can save a production at times even if no one outside the department will ever admit it. I always stress to my crews to be seen working and demonstrate your worth. I also put a HARD cap on how many people I wire in a scene without a utility.
Believe me that I'm on our side but from a Producer's perspective. They have no idea how much skill it takes for things to magically work seamlessly without it seeming like there was any thought or effort put into it. Quite the opposite is true and on every show I'm a part of I make sure this is stressed.
This is almost surprising to me. Granted I’m just starting but I’m used to doing everything as the sound mixer (again, college/amateur level). - I do the timecode for the slate and cameras - I set up the lavs and get them on the talent - I do the fricking sound reports I idolize mixers such as Simon Hayes who get actively involved in what’s going on. I also shiver at the thought that most of the dialogue I record might get replaced with ADR because no one cares about onset dialogue anymore. That’s how much I care about the job.
I'm right there with you. I don't believe I said that your tracks will be replaced by ADR but rather that your mix track won't be used. I hope I'm wrong because I see the value if what each member of the team does... it makes me nervous though.
Great episode. Interesting discussion about the economics on film sets and how producers are looking for money saving approaches like firing caterers and bringing in food trucks.
For a bit of levity, I would love to see the look on a 1st ADs face when they ask the Boom op what the delay is, and they say they're on the phone with tech support because the remote mixer isn't getting a feed 😂
Oh and you're describing the state of the art in live broadcasting. Throw up cameras at the event send everything to the control room the next town over. And there's aspects of that that are quite scary. Everybody's worried about AI but there's other things to be worried about too.
Not to put the job down, but I highly agree Sound Mixers likely need to step up their game. The work I do as an Live Broadcast engineer for corporate events has me heavily involved in RF, Dante network and system management, and then broadcast mixing the final production. Over fiber, I can run all my sources to a control room over a mile away, and remotely control my mixer from my computer. The future is now and industries are definitely tightening their belts on how many techs are necessary.
I went to a band live who said at the opening we're here live, we're gonna play all of our music completely differently from are cd's / albums. Unfortunately they also played with a full orchestra for some of the songs and a yeah it sounded really good but that's also not gonna be replicated anywhere else. so yah I'm glad I'm a taper, I just wasn't very prepared for it that day.
I feel like the trend of playing radio music started over 20 years ago. I recall reading about the psychology of music selection way back then. I remembered it recently when (upon going to the grocery store) I recall how much I liked the music and realized that I had become old. Or has my memory finally failed, betraying that I am old?
In California many studios have their own rental departments and prep consists of ordering gear and assembling it. What's to say the mixer responsible for mixing a show isn't flown out for prep and to assemble the gear then flys back to mix? Or, even worse, company technicians are sent out to get a show going according to some guidelines the studios set up?
I work with software developers and I tell them the same thing about Gen AI . They need to be as good as they possibly can be and use AI to complete what they do, not only use AI.
@creativegreatsvisuals Someone that constantly scans the air and makes sure that every department using wireless frequencies is optimally configured to not interfere with anyone else.
Is this anything new? It’s been going on for over ten years. As for supermarket music being generic, how dare you call “Theme from a Summer Place” generic! 😡
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My entire (15 year) career I’ve been hearing 1st ACs commiserating that some sort of autofocus technology will eventually make their jobs irrelevant, and it still might.
I agree that mixers need to stay up to date with equipment keep up with current trends. As you mentioned the way sound is usually done has changed over the last 15-20 years. While the mix itself might not be as vital as it once was, the scope of the sound department where we now routinely have a dozen wireless booms+lavaliers out in the wild at any given point of time has increased. Every day I feel at certain points that three set of hands is too much and not enough. Having a full sound team can save a production at times even if no one outside the department will ever admit it.
I always stress to my crews to be seen working and demonstrate your worth. I also put a HARD cap on how many people I wire in a scene without a utility.
Believe me that I'm on our side but from a Producer's perspective. They have no idea how much skill it takes for things to magically work seamlessly without it seeming like there was any thought or effort put into it. Quite the opposite is true and on every show I'm a part of I make sure this is stressed.
This is almost surprising to me. Granted I’m just starting but I’m used to doing everything as the sound mixer (again, college/amateur level).
- I do the timecode for the slate and cameras
- I set up the lavs and get them on the talent
- I do the fricking sound reports
I idolize mixers such as Simon Hayes who get actively involved in what’s going on. I also shiver at the thought that most of the dialogue I record might get replaced with ADR because no one cares about onset dialogue anymore. That’s how much I care about the job.
I'm right there with you. I don't believe I said that your tracks will be replaced by ADR but rather that your mix track won't be used. I hope I'm wrong because I see the value if what each member of the team does... it makes me nervous though.
Great episode. Interesting discussion about the economics on film sets and how producers are looking for money saving approaches like firing caterers and bringing in food trucks.
Yeah, they cut cost in weird places and often step over dollars to pick up dimes
For a bit of levity, I would love to see the look on a 1st ADs face when they ask the Boom op what the delay is, and they say they're on the phone with tech support because the remote mixer isn't getting a feed 😂
Yeah but there are dedicated lines with guaranteed uptime they'd need to invest in.
Oh and you're describing the state of the art in live broadcasting. Throw up cameras at the event send everything to the control room the next town over.
And there's aspects of that that are quite scary. Everybody's worried about AI but there's other things to be worried about too.
Yep
Don’t forget that the picture editors use the production sound mix for their base picture edit.
Yes but it's mainly for timing. If it's scratchy and low quality, not their concern because once there's picture lock, they'll fix up the sound.
Not to put the job down, but I highly agree Sound Mixers likely need to step up their game. The work I do as an Live Broadcast engineer for corporate events has me heavily involved in RF, Dante network and system management, and then broadcast mixing the final production. Over fiber, I can run all my sources to a control room over a mile away, and remotely control my mixer from my computer. The future is now and industries are definitely tightening their belts on how many techs are necessary.
Exactly. Makes me nervous for the future of sound mixers.
I went to a band live who said at the opening we're here live, we're gonna play all of our music completely differently from are cd's / albums.
Unfortunately they also played with a full orchestra for some of the songs and a yeah it sounded really good but that's also not gonna be replicated anywhere else. so yah I'm glad I'm a taper, I just wasn't very prepared for it that day.
👍
That blows my mind that a mixer wouldn’t take the time to know their gear intimately.
It's becoming more common than you'd think. If they can hire an intelligent team, that's all some of them care about
I feel like the trend of playing radio music started over 20 years ago. I recall reading about the psychology of music selection way back then. I remembered it recently when (upon going to the grocery store) I recall how much I liked the music and realized that I had become old.
Or has my memory finally failed, betraying that I am old?
You're right, it has been a while since stores started their own radio.
In a corporate world the smallest departments get cut the most. Why not in film production?
Yeah... it's illogical but you are correct.
Who provides the equipment if the sound mixer job goes remote?
In California many studios have their own rental departments and prep consists of ordering gear and assembling it. What's to say the mixer responsible for mixing a show isn't flown out for prep and to assemble the gear then flys back to mix? Or, even worse, company technicians are sent out to get a show going according to some guidelines the studios set up?
I work with software developers and I tell them the same thing about Gen AI . They need to be as good as they possibly can be and use AI to complete what they do, not only use AI.
Exactly. When AI becomes a substitution for skill, the world is doomed.
Sounds like the sound mixers need to reinvent themselves as a sound and RF coordinator in order to remain relevant.
Something... for sure.
What’s a sound and rf coordinator ?
@creativegreatsvisuals Someone that constantly scans the air and makes sure that every department using wireless frequencies is optimally configured to not interfere with anyone else.
Is this anything new? It’s been going on for over ten years.
As for supermarket music being generic, how dare you call “Theme from a Summer Place” generic! 😡
🤣