Things You May Not Learn In Film School (but should)

[Editor’s note, Feb 2014: Written over 20 years ago now, many of the points below are obsolete, though fun to read. But some things never change]

Never run.

• In short, running on the set is poor professional form for a
  sound department. While the enthusiasm may be impressive to the unseasoned,
  running tells those with experience that you have not thought far enough
  in advance. When you run, mistakes are made, so you have to run back
  a second time; you often get hurt, equipment is damaged, a distraction
  is created and directors and producers are unimpressed. The concept
  is as old as sound for film: friend and former colleague, Vilmar Zile,
  who’s been mixing sound for film since the 1930’s, captured by the
  Nazis during W.W.II, found himself on the crew of a film that taught
  the proper way to defuse “dud” Allied bombs. That’s when
  Vilmar coined the phrase: “Do it fast, do it wrong, do it over,
  if you can.”

Never close  an equipment case lid without secure at least one latch.

• This is the first instruction I gave to my eager-but-green cable
  man on the TV show “Christy”. The recent film school grad
  looked at me like I was either kidding or didn’t realize how qualified
  he was. Well, on the second day I asked him to bring an equipment case
  that he had been working out of all day. While the entire cast and
  crew waited and watched, he grabbed the handle and took off running
  (second mistake). The lid flew opened, and about $20,000 worth of microphones
  spilled into the Appalachian Mountains. Like I said, “Always secure
  at least one latch”.

Do nothing until the take up reel or DAT cassette is labeled.

• In doing this, any tape that has been recorded is always on
  a labeled reel. In the case of DAT recording, always label the cassette
  before inserting in into the recorder. The 15 seconds this takes can
  seem like an eternity, especially if you have not prepared, but it’s
  nothing compare to the torture of wondering if you are recording over
  the previous scene.

Always have a Plan. Always have a Plan “B”. Assume neither will
work.

• Seldom have I ever seen productions go according to plan. The
  best set up for a particular scene is often going to be different than
  the plan originally called for. It is important to be flexible and
  be ready to quickly adjust as needed.

Be very nice to Craft Service personnel.

• First, of course, because it’s the right thing to do (they handle
  your food, after all). Second, most of the producers I know began as
  a Craft Service PA. So, the person bringing your bagels and coffee
  will probably soon be deciding how much your day rate should be. Think
  about it.

Key to free-lance success:

• Have as many clients as possible.
• Always keep an extra set of headphones for the producer’s girlfriend(s).

Develop a mental checklist for equipment.

• I always feared arriving on the set without a vital piece of
  equipment. Mentally check off each piece of equipment by starting at
  the microphone and working back to the tape.

If something is not directly related to sound, LEAVE IT ALONE!

• This is not a “primadonna” attitude, but a very practical
  rule that has been in place for years because it makes productions
  better and safer.

Always have more than you should need.

• Tape stock, batteries, cables, paperback books, etc.

Always include a “Sound Report” in triplicate.

• Date, Tape number (roll, cassette, etc.), Your name & phone
  number, Project Title, Machine model, tape stock type, sync type, 0
  VU reference, time code frame rate (when applicable), sampling frequency
  (digital) and bit rate. One copy goes to with the tape to the transfer
  house, another is for the production office records, the third stays
  with you (always).

Never assume:

• That you are over-qualified.
• That you are not replaceable.
• That the old timers have been doing it wrong for years.
• That your lack of experience will go unnoticed on the set.