Now Hear This

As soon as I wished out loud to be part of a real film set, versus the spur-of-the-moment set where I shot my first short film, the universe granted my wish. Originally, I applied for the “Sound Mixer” position not really knowing what all it entailed. The only other open position was DP (Director of Photography). I learned back in undergrad that I didn’t have the “eye” to be DP. Besides, I’d edited several podcast episodes. All I knew was that the filmmakers, who shared director/producer titles, stated they would rent the equipment if the Sound Mixer didn’t have their own equipment–something I learned while on set to not be the usual case.

Fortunately, my mentor guided me in the right direction by providing a few videos and a blog. Until she did that, I truly thought I’d stroll up on set, dressed in all black, wearing hiking boots and a camelback without having done any research. Thank God I killed the camelback idea and brought a water bottle like a normal person.

The first thing I learned and immediately internalized was: early = on time; on time = late; and late = fired. Since my official title for this set was “Sound Shadow,” which, if I hadn’t known any better, I would have assumed was the latest comic book superhero, essentially meant I was an unpaid intern.

At least I didn’t have to pay for a class to gain this experience. As an undergrad, I’d worked on three student film sets. In that blind-leading-the-blind situation, none of them were at any level of professionalism as this movie set was. Regardless of my volunteer status, I still respected our mutual time and made the most of the opportunity.

The second lesson was an explanation of what “collaboration” means on set. As collaborative as both codirectors/coproducers, who I’ll refer to as A and C, announced they’d be on set, I’m happy I didn’t go with my original plan. Instead, I quietly approached the codirectors to ask a question or suggest something. That way, none of the actors overheard, which might have been confusing.

Plus, if one talks when things aren’t rolling, then they should do so quietly. I witnessed first hand how side conversations get out of hand. I found myself pulling a Ms. Roberson and gesturing two people on set to talk quietly. Given the lag time between takes, there was no way we’d all remain silent, but talking normally was too loud.

On the first day, I parked on the edge of the lawn among the other cars with a minute to spare from my call time (ie, late) and texted one of the codirectors/coproducers, C, about my arrival. I entered the house through a side door, nearest the line of carefully coiled cables–another thing the videos had reminded me: the over-under method to wrap most cables that would minimize damage and entanglement. C met me at the door with a big smile on her face and gave me a hug. (At least her eyes communicated “big smile” since her face was actually covered with a mask. Everyone on set had to show a negative COVID test that had been administered within 48 hours).

As I walked in, I met the Boom Operator, T.

For weeks I’d sung the phrase “boom operator” to the tune of Sade’s “Smooth Operator.” Took me mere seconds after our introduction to sing it to T. It had been my ear worm for a while, but I didn’t quite plant it in T.

Moments later, the Sound Mixer, J, arrived with an impressive amount of equipment, 12 years of filmmaking experience and a remarkably positive attitude for someone who wasn’t a morning person. The most golden nuggets of information I learned from him was that sound mixers were expected to own their equipment, and that he sometimes makes more money renting his equipment verses his labor rate. Although I’ve been a lifelong an emerging entrepreneur, my ears perked up when he talked about “rental.” There’s a standard package of sound equipment that filmmakers pay for. On top of that standard package, any additional needed sound equipment will be rented at a daily rate.

One of our producers/directors, A, bravely chose to shoot in and around her home.

I could have made a documentary just from the furniture alone. The piece that spoke to me the most was the Singer sewing machine that had been repurposed into a table. My maternal grandmother had a Singer. When I visited her, I’d sit down in front of the Singer and peddle. Not sewing, mind you, just idly peddling. Bonus: the set dog is in the picture. He was super chill for that many strangers doing strange things around his house.

I notoriously have cold fingers and toes even in warm weather.

For once, masking due to a pandemic worked in my favor because it kept my face warm. We purposely had open doors to keep fresh air flowing–fresh COLD air. Except for when I was eating or using the bathroom, I had gloves on whether I was inside or outside. The combination of post lunch, a comfortable beanbag and comfy coat and KA-BOOM! immediately transported T into a power nap. The headphones were such a nice touch for someone who confidently stated that she wouldn’t fall asleep.

At one point on the first day, T and I talked about me handling the boom when we were outside.

Yet, I didn’t want to be part of the reason why the shooting schedule got further behind. So, even though I never worked the boom for a scene, I miked the actors. Plus J told both T and I that whenever we were operating a boom, we should either fully extend our arms or have them bent and close to our ribcage in order to use our bones rather than our muscles. He summarized in this sound adage: “Muscles wear out; bones don’t.”

On Halloween 2021, I’d requested to read A’s script after she announced that she wanted to make a movie. Just get the dang thing done. Although I didn’t know her, I loved her confidence. Since it was a short film, I offered to read it and made three suggestions.

Fast forward to mid-February 2022, I was part of the crew. The first scene we shot implemented my first suggestion. To my joy, as the two-day shoot unfolded, I witnessed my other ideas implemented as well. That was my preproduction contribution. Being on set was a whole different animal, just seeing those words come to life through the interplay of crew and actors.

In the one screenwriting class I’ve taken, the instructor said that a film gets made three times: once when you write it, then when you shoot it, and finally when you edit it. Throughout the shoot, A kept thinking out loud about how to edit the story altogether. I didn’t envy her that, having to switch back and forth from director and editor.

On the second day of shooting while we were finishing up lunch, I looked at A and asked if filming in her house was everything she thought it be. Her nonverbal reaction, which ran from exasperation to optimistic smile, was something I wish I’d captured on film. Her practical answer saw the value of saving location fees. Another thing I wished I could have captured on audio: the other producer/director, C, commanding “Quiet on set!” Up until then, I’d never experienced her voice hitting the back walls.

The second day of shooting began outside, adding to the challenge.

Our location was near traffic and in the flight path of several planes/jets. I helped solve one challenge that day.

I’d noticed on the first day that a tablet, which was linked to the DP’s camera via an app, had to either be held or lie on some inconvenient surface. My solution? I removed all the painting paraphernalia from my music stand, which has not hardly had sheet music on it since a friend had gifted it to me years ago. Now I can add another nonmusical item to the list of things that have rested on that music stand.

Ever since I was offered the position of “Sound Shadow,” I wanted to illustrate it as a superhero. The moment I can use as inspiration occurred on the second day shooting while we were outside.

Our lead actress lost an earring. At one point, a handful of people were looking for it. Then, just the lead actress and another actress who had been in a scene with her were on their hands and knees still looking for the earring. My attention was on the shoot nearby, but from my peripheral vision, I saw them searching for the lost earring in the same patch of ground as if conducting an archeological dig. I carefully walked over, not wanting to accidentally step on it. Once the lead actress showed me what the earring looked like, I looked at the patch of ground in front of the chair where she’d sat, and squatted to examine the ground closer.

“Don’t hate me, but…” I held up the earring and handed it to the lead actress.

That’s precisely the types of wrongs that The Sound Shadow rights–small scale, huge sentimental value. Like a mysterious superhero, regardless of magnitude, I drove back to my lair once the shoot was over.