Personality in Post

[ThisIsSka]

Yes it is, for almost everyone on set actually. You may only be mediocre at your craft, but if everybody loves to have you around then you'll get so much more work.

[coaxmw]

I would say being on the shy side is much better than being on the loud side. In any area of post (and I assume on-set also) you around your co-workers for 8 hours or more at a time, sometimes in really close proximity so someone you can get along with is essential.

[Steven1145]

Post is 50% human relations. The rest is talent and competence in varying degrees.
If you dont know your way around people, it'll be difficult in the long run.
From what I remember film sets are quite the same, with diplomacy the key in getting on with everyone else.

[Max Holland]

Originally Posted by Steven1145

Post is 50% human relations. The rest is talent and competence in varying degrees.
If you dont know your way around people, it'll be difficult in the long run.
From what I remember film sets are quite the same, with diplomacy the key in getting on with everyone else.

truer words have never been spoken.


I tell all our interns that I know more incompetent but sociable audio guys working than genius but grumpy/shy ones.

PS I wont be divulging either list anytime soon

[Jay Rose]

Just don't be afraid to make suggestions (once you're sure of your own political skills). Most producers/directors/clients welcome any ideas that'll improve their product, and it shows that you're truly engaged. Obviously you don't want to force the issue: it's still their show.

If you're just a button pusher, then what are you selling? Every studio has the same buttons and someone who knows how to use them.

[kosmokrator]

Originally Posted by Jay Rose

Just don't be afraid to make suggestions (once you're sure of your own political skills). Most producers/directors/clients welcome any ideas that'll improve their product, and it shows that you're truly engaged. Obviously you don't want to force the issue: it's still their show.

If you're just a button pusher, then what are you selling? Every studio has the same buttons and someone who knows how to use them.

I don't know about the sets where you live, but on sets I worked on, as a boom operator giving the directors or producers 'advice' would make sure that you'd be never hired again.

[Garret]

Originally Posted by kosmokrator

I don't know about the sets where you live, but on sets I worked on, as a boom operator giving the directors or producers 'advice' would make sure that you'd be never hired again.

I'm pretty sure he means in post, not on set.

[Tom Fleischman]

Originally Posted by Max Holland

truer words have never been spoken.


I tell all our interns that I know more incompetent but sociable audio guys working than genius but grumpy/shy ones.

PS I wont be divulging either list anytime soon

You can be grumpy, but if you're going to be grumpy you better damned well be really good.

Seriously, you are there to do what you can to help the filmmaker realize his or her vision. Suggestions are usually welcome, but you have to always remember that this is not your project, so don't get too personally invested in your own ideas. Believe me, I had to learn that the hard way. You are part of a team. Keep a positive attitude, even if you hate the project. Don't waste time. Listen to what is being said in the room and try and stay one step ahead. If you hear the director make a comment, even if it isn't to you, act on it as soon as possible, or ask for clarification. You'd be amazed at how you can instill confidence in others regarding your ability by listening to what is being said in the room and showing them that you're on it before they ask.

[Jay Rose]

Thanks, Garret. Yes, I meant post, since that's what this particular thread is called. On a set it's a completely different thing.

Biggest difference is, in post, the producer or director will frequently specify which editor or mixer they want to work with... almost like they would with a DP. What you bring to the table is important.

In production, you're usually a cog. A skilled, important cog... but replaceable. And unfortunately, regarded as less important than the visual departments.

[Murasamee]

Originally Posted by Jay Rose

Biggest difference is, in post, the producer or director will frequently specify which editor or mixer they want to work with... almost like they would with a DP. What you bring to the table is important.

In production, you're usually a cog. A skilled, important cog... but replaceable. And unfortunately, regarded as less important than the visual departments.

100% agree on this one. Producers and directors usually do all their movies with the same team of editors and mixers since that is the process where you cut, and change, and "destroy" their vision. They want to make sure they are comfortable around those people, and that they can understand each other. Being shy hurts when it comes to building that kind of relationship with a producer or director. You want them to feel like you are a buddy to them, but they respect you enough to listen to what you say.

Unfortunately, production sound doesnt work that way (IMO). Everyone is paying attention to the visuals during principal photography, leaving the boom and production mixer pretty low on the totem pole.