On the Necessity of the 2nd Sound Assistant in Film Productions

The originality of dialogue recorded on set is irreplaceable when it comes to the authenticity and emotional quality of a scene. To achieve this, the original sound must be captured - ideally free from noise and background distractions - clearly and richly.

For recording on set, there are essentially two options: boom microphones and lavalier microphones. Today, a well-utilized original sound signal usually consists of a combination of both tracks, which are phase-corrected and mixed during post-production. Sometimes one signal may work better than the other for optimal dialogue playback, but typically, using both together is necessary. The lavalier microphone is not a replacement for the boom; rather, it serves as a complement.

The ever-growing demand for quality in feature films, TV movies, and series, combined with increasing noise pollution and shrinking production budgets, makes achieving high-quality original sound an ever-greater challenge. With the use of inexpensive digital media, rehearsals are often skipped - shooting begins immediately. Scenes are played without interruption in multiple takes, often with several cameras covering different angles, which complicates close boom work.

To ensure good results and to work as smoothly as possible, a third person in the sound department on set is essential: the 2nd Sound Assistant. This position is also referred to as  2nd Boom Operator, Sound Equipment Assistant, or Utility Sound Technician. In American, English, and French film and television productions, this role has long been standard.

A 2nd Sound Assistant saves the entire production time on set - and thus costs. Important preparations and tasks for set sound can be carried out smoothly in parallel, allowing the sound mixers and boom operators to focus on rehearsals and necessary communication with other departments.

With a three-person sound team, efficiency increases in transporting, setting up, and dismantling equipment at the beginning and end of shooting days, as well as during location changes. This saves time and potential overtime, especially in hard-to-reach locations and challenging terrain.

Tasks such as timecode synchronization of sound equipment and cameras, distributing monitoring receivers, managing video transmission, and implementing acoustic measures are carried out by the sound assistant and can take place alongside rehearsals and other preparatory work. This results in less waiting time for sound and reduced work hours or overtime for everyone involved.

With just two people, many shooting schedules and the associated extra time required would no longer be feasible today, or the overtime would exceed legal limits.

The quality, perspective, and spatiality of the signal from boom microphones enhance the sound of the directly captured lavalier microphones, significantly improving the combination of both signals in the mix. Even in simple two-person dialogues with shot/reverse shot setups, it makes a noticeable difference whether one can work with just one or two boom microphones in parallel. Since not only the "on" role is captured with the boom, dialogues can be performed without the often disruptive cut pauses that can frustrate directors and actors, resulting in much greater naturalness and authenticity.

The signal from the second boom microphone also significantly eases the editing of both picture and sound, saving time on set by reducing the need for extensive voiceover and background sound work. Improvised dialogues can only be effectively captured with multiple boom mics running simultaneously. When using a second camera, for instance in shot / reverse shot scenarios, a professional second boom operator is essential, as there are usually two dialogue sources in the frame that need to be covered.

Additionally, the second boom mic is absolutely necessary for actors positioned in the foreground and background, challenging lighting situations, complex camera movements, multiple active spaces, or scenes with many actors.

In loud environments, such as busy streets, the second assistant can isolate background noise while capturing the dialogue in the foreground, helping to reduce sound discrepancies in post-production.

The quality of the original sound is greatly enhanced by the use of the second boom. Typically, this leads to significantly fewer ADR sessions with actors during sound post-production, resulting in savings on studio, personnel, travel costs, and ADR editing.

While three to four wireless systems for lavalier microphones used to be considered a generous setup on set, nowadays, ten or more systems can be in use simultaneously. The basic wiring of all actors has become standard practice. This needs to be well-organized and executed swiftly, ideally without generating waiting times and associated costs for the entire production team. Ideally, at the start of the shooting day, the sound mixer and/or assistant handle the wiring. The best-case scenario is that this is done away from the set during costume preparations, while the rest of the equipment is being set up and technical rehearsals are taking place. Especially when there is a spatial separation between the base (makeup/costume/holding area) and the set (shooting location), a third person in the sound team becomes necessary for this workflow. Each actor can save approximately 5 to 10 minutes before shooting by wiring in parallel with the set construction, which can only be achieved with a 2nd assistant. Some shoots - especially those with a large cast and many costume changes - may require the simultaneous involvement of two or even three sound team members for wiring actors to minimize waiting times.

Another important task for the 2nd Sound Assistant is managing the many transmitters used, ensuring they have batteries or charged packs. Spontaneous adjustments and modifications to lavalier microphones between takes can also be handled more easily and with significantly less downtime for the entire team by the 2nd Sound Assistant.

Another area of responsibility for the 2nd Sound Assistant or sound equipment assistant can be the short-term acoustic improvement of spaces and the elimination of noise sources. This often needs to be done in parallel with other important preparatory work on set to avoid creating delays for the entire team. This includes tasks such as laying down mats and carpets, hanging sound-dampening curtains, taping down shoe heels, and locating and eliminating disruptive noises from props, fans, lighting control devices, radiators, or air conditioning units.

Managing and maintaining the monitoring receivers (also known as IFBs) for the film crew also falls under the purview of the sound assistant. Here, too, there are many more devices to manage than just a few years ago. Additionally, the video village often requires sound at various locations. This management also includes ensuring that all receivers are supplied with batteries or charged packs. In larger sets with a higher number of monitor channels and many receivers, this is a task that can only be effectively handled with a 2nd Sound Assistant.

In a production, many sounds can be recorded in addition to dialogue, and these are extremely valuable for the sound design of a film during post-production. If these sounds do not exist, they often have to be created at significantly increased time and financial costs  - if it is even possible. This includes specific atmospheres, background sounds from extras, vehicle sounds, rare machinery, and other acoustically challenging props. Due to time and budget pressures on set - where "there can be no downtime" - these recordings are often not feasible during the actual shooting.

The 2nd Sound Assistant can independently create recordings with a self-sufficient recording setup away from the main set, demonstrating ingenuity and organizational skills. They can also prepare and mic up props, vehicles, or locations for more complex background sounds while other scenes are still being filmed. Additionally, they can be deployed for atmosphere and background sound recordings while the shooting team moves to the next set.

With sets featuring multiple cameras and audio recorders, the effort required for synchronizing the devices increases, often managed by the sound team. Together with the camera crew, the 2nd Sound Assistant handles the jam sync and battery changes for the timecode generators.

For shooting situations requiring sound playback (e.g., music playback), the 2nd Sound Assistant can technically prepare a setup and may even act as the operator for the playback.

In smaller, remote splinter units that capture footage without dialogue, the 2nd Sound Assistant may take on sound recording alongside the Main Unit's filming, allowing the main team to work with just one boom operator.

Hiring younger, less experienced, but motivated colleagues as sound equipment assistants helps counteract the trend of personnel shortages in the area of boom operators. Therefore, if budget constraints prevent the hiring of a full-fledged 2nd Sound Assistant, it is essential to consider employing a utility sound technician.