How do you respond when a producer wants to know how much is good sound going to cost?
Assume that this is a medium budget, corporate production, being shot on film. Non-union.
Let’s start with a crew.
The Mixer works for $400 per 10 hour day. Time and one-half for every hour beyond ten.
The Boom Operator (“Yes, I have someone in particular who works with me”) gets $275 for 10.
Since this is low-budget, we will not hire a Utility Sound Technician.
For an equipment package, let’s go with a basic Location Channel at $350. Or, if the shoot is local and not far from a rental house, we could budget for a Stage Channel at $250.
Even if the Sound Mixer owns all or part of an equipment package, a production should be budgeted the same as if it were all being rented. Because it is. If not from the rental house, then from the Mixer. Equipment costs money to purchase and maintain, and the Mixer is entitled to recoup that. As for giving the production company an extra discount for privately owned gear, the Mixer should counter by pointing out that privately owned equipment is in better condition and better stocked with adapters & accessories.
Radio mics (four) will run around $200. Perhaps we can get by with only two, at about $100.
Comteks will be useful for the Director and Client. Add $100.
Four walkie-talkies, at $40 per week each, is $160.
Recording media and batteries will be billed on an “as used basis”, approximately $30 per day for media and $25 for batteries.
Camera tape, canned air, and marking pens will be provided by the production company.
Add another $10 per day for incidental expendables.
Totals for sound: a lot!. Of course, that figure will go down if the shoot goes beyond four days, since the equipment is billed on a four-day week. Salaries remain the same, though. Costs could have been reduced by eliminating the Comteks and going with a Stage Channel instead of a Location Channel.
Nobody said that filmmaking was inexpensive.
Oh, could I recommend any good, cheap soundmixers? Well, I know a lot of good soundmixers, and I know a lot of cheap soundmixers, but I don’t know of any good and cheap soundmixers!
To quote a (rather crude) colleague of mine who was once asked if he would mix sound for $75 per day. “The poor cleaning woman who comes to my house once a week gets paid more than that. Why don’t you just hire her!”
In summary
Good production sound does not happen by accident. It requires the concerted efforts of the entire production company, both on the set and particularly during pre-production planning.
Scout your locations carefully with regard to sound. When evaluating a potential location, scout it on the same day of the week and same time of the day that you intend to shoot.
Select your Sound Mixer with the same care that you take when choosing a Director of Photography; don’t just assign the critical job of sound recording to “anyone who isn’t busy.”
Members assigned to the Sound Crew should not be expected to do the work of other departments, unless everything that needs to be done for sound is complete and they are merely sitting idle.
Hire, or at least pick the brains of, an experienced professional Sound Mixer. Consult with the Mixer early on, so as to be able to take advantage of budget and production suggestions. In the long run -- even though an experienced mixer will cost more up front -- their experience and ability can save valuable time and money in post-production.
Be wary of advice from Rental Technicians. Not being experienced in the ways of production, their suggestions may be rooted in guesswork or rental profit.
Take a professional approach. Do it the best you know how, or don’t do it at all. They do not run apologies during the dailies; and your reputation will hinge on what they hear in the soundtrack.
The basic production sound crew consists of the Sound Mixer, the Boom Operator, and the Utility Sound Technician.
Equipment selection and prepping is the responsibility of the Sound Mixer, regardless of who the equipment is being billed to.
Use only the best equipment available on the market. Be prepared as much as possible for contingencies and changes in the shooting schedule.
Use condenser mics and a mixing panel.
Equipment should be meticulously checked before leaving the rental house; and at least a half-day before the start of the shoot to allow ample time for repair/replacement.
When dealing with rental houses, establish accounts and place orders in advance. Be specific when you order. All equipment must be insured. Ask about discounts on weekly and long-term rentals. Ask about travel days, rain days, and shipping policies.
And always remember that when they talk about show business, it is a business and not just a show.