by Juan Cisneros CAS
I am deeply grateful for the unwavering support from Shondaland Productions since 2017. My journey in the television industry began as a Sound Utility on the TV show American Dreams in 2004, alongside the talented actor Tom Verica. When Tom transitioned to directing, I had the opportunity to work on his short film on weekends, hoping to establish my name in the industry. He promised to involve me in more significant projects, and almost twelve years later, he fulfilled his promise by offering me the pilot for For the People, a show he directed and produced with Shondaland.
After completing the pilot, Tom told me about another pilot called Station 19. The Station 19 pilot kept getting delayed with the fall season approaching, so I chose to continue with For the People. I worked on it for three seasons only to see it get canceled, while Station 19 was picked up for its third season. This turn of events led to a call from one of the producers of Station 19, inviting me to meet with Paris Barclay, a director and producer on the show.
My first instinct was to reach out to my friend, David Kirschner, the original mixer from Station 19. I was curious why he was not returning to the show. David revealed that he was retiring after fifty years in the business. I then called Paris Barclay and set up the meeting. I was fortunate to join Station 19 as the Sound Mixer, taking over from David. It was a challenging transition, as I had big shoes to fill, but with David’s guidance and some adjustments to adapt to the show’s unique requirements, I took over the show successfully. The show was intense, often involving multiple cameras and locations, and requiring us always to be ready with booms and wireless mics.
We always had to coordinate with the camera, props, costumes, hair, medical, and fire technical advisers to determine how we would place the microphones on the actors because sometimes they would wear helmets or take them off during the scene, or change clothes from firefighter uniforms to civilian clothes on camera. It was a heavy, intense, noisy props show, and we were also dealing with firetrucks and actors opening and closing doors and compartments, putting away tools, uniforms, hoses, helmets, Velcro, etc.
I must underscore the pivotal role of my crew. Over my five-year tenure on the show, I began with Gary Boatner, my Boom Operator, who was with me for almost twelve years until his retirement. Following this, I brought on Chris Walmer, who later decided to move on due to the travel distance from the studio to his home. Then, I welcomed Jacques Pienaar, a fantastic addition to my team, a great person, an excellent Boom Operator, and a good friend. We also had Estuardo Galvez, as our Utility Sound Technician/Second Unit Mixer, my right hand, and a good friend. He has worked with me for almost eleven years. After the onset of COVID-19, we added a fourth person to our team, Scott Marshall. We nurtured and trained Scott, who is a quick learner. We familiarized Scott with our workflow. His addition to my team was a true blessing, as Scott significantly eased our set life. Today, my crew and I are always in sync, and are more than coworkers; they are like a family to me. I also extend my gratitude to all the other sound brothers and sisters who have supported me throughout the show.
I was well aware that I would be dealing with intense scripts and emotional scenes that would test the limits of our cast.
We had a high track count because occasionally, we will do a crossover episodes with Grey’s Anatomy. I aimed to capture the actors’ dialogue as accurately as possible to avoid the need for ADR.
One of my most significant challenges was staying alert and ready for an actor to go from a whisper to a scream with no warning. While we sometimes rehearsed to prepare for these situations 99.9% of the time, the rehearsal performance would change when we started shooting. However, I was able to adapt and ensure that the sound quality remained top-notch.
Embarking on the production of a large-scale television series is a collaborative endeavor that hinges on seamless teamwork. As a Sound Mixer, it is paramount to foster trust within our sound team, meticulously observe rehearsals, and establish open lines of communication with various departments. Collaboration with other departments creates a supportive environment and ensures a smooth workflow where everyone can contribute effectively.
It is crucial to provide the sound team with top-of-the-line tools and equipment. For more than two decades, I have been using Lectrosonics wireless microphones due to their excellent support during my transition from analog to digital. I also have Sound Devices for recorders and control surfaces, Comtek’s, Denecke slates and sync boxes, PSC Power Solutions, K-Tek products, Schoeps CMIT microphones, Sennheiser MKH 50 & 416, and Sanken and Countryman for lavalier mics. Eric Ballew from Cannibal Industries made my sound carts, and Ryan Canestro helped in my converting to full Dante. I also received invaluable support from Location Sound Services.
Beyond the realm of equipment lies the indispensable element of creativity. Television presents a distinct set of challenges that require a blend of technical proficiency and imaginative problem-solving.
In the fast-paced world of television production, time constraints are constant. The pressure to capture multiple script pages within a limited timeframe, often without the luxury of extensive rehearsals, underscores the need for adaptability and quick thinking.
Navigating this dynamic landscape of television production requires a multifaceted skill set encompassing technical expertise, teamwork, and a keen artistic sensibility. As a sound team, we must not only excel in the realm of technology but also harness our creativity to overcome the unique challenges presented.
The ability to think on our feet, collaborate effectively with our team, and deliver exceptional sound under pressure is essential for success in this fast-paced and demanding industry.
I want to recount a recent distressing experience that has left me reflecting on the situation. Unfortunately, my sound trailer, containing all my sound equipment, was stolen. The impact of this loss was profound, leaving me in a state of dismay and emotional turmoil. After eight days, authorities located the stolen trailer, but it had suffered severe damage, and most of my valuable equipment was either stolen or irreparably damaged.
This incident was not only a personal setback but highlighted the vulnerabilities inherent in our work. We must strengthen our defenses against unforeseen calamities and proactively protect our belongings. Everyone should consider using accurate GPS devices to enhance the security of our equipment.
I share my story in the hope that it serves as a cautionary tale and prompts others to implement measures to safeguard their assets. Please have an accurate inventory list. I also express my earnest wish that studios and relevant authorities institute new protocols and safeguards to prevent such incidents from recurring.
Let’s learn from each other’s experiences and work together to create a safer and more secure environment for our community.
Scott Marshall – Utility Sound Technician
In September 2020, I stepped into the crew for the fourth season amidst the unique challenges of COVID-19. I embarked on a journey to support and adapt to the new normal of production. My role entailed adhering to stringent COVID-19 return-to-work guidelines, maintaining equipment hygiene, and overseeing a complex VOG system.
This VOG system wasn’t your run-of-the-mill setup; by strategically situating speakers indoors and outdoors, I facilitated the seamless transmission of directions from the Assistant Director to the entire crew, freeing them from the confines of a singular space, especially indoors. Initially met with skepticism, this innovative solution gradually gained appreciation as its efficiency became evident, showcasing our team’s creativity and problem-solving skills.
Additionally, sanitation became paramount, especially for equipment near actors. Every wire, transmitter, strap, and accessory underwent meticulous cleaning before and after each use, ensuring compliance with safety standards.
As COVID-19 restrictions eased, a sense of normalcy returned, allowing for an entire four-person sound crew throughout seasons four, five, and six. However, following the WGA/SAG- AFTRA strike, many teams, including ours, faced staff reductions. Fortunately,
I retained my position within this esteemed sound crew, and thanks to Estuardo Galvez’s promotion to the Y1 position.
Juan’s team groomed me for increased responsibilities throughout each seasons and challenges, culminating in season six, when I assumed the core duties of the key utility. Wiring talent became one of my primary tasks, a huge endeavor as we wired between six to twelve daily in a three-camera world. Juan skillfully prioritized wires for optimal dialog capture.
We fostered a sense of family throughout every season within our department and the entire cast and crew. The camaraderie was instrumental in our success, in devising many excellent workflows that helped us work efficiently while capturing great performances.
One standout was our approach to wiring talent-wearing firefighting turnouts. We figured out how to fix transmitters and wires into their helmets. This meant they could move freely, doing almost any action while capturing close-and-personal dialogue. With the lav at the edge of their helmets, smack dab in the middle of their foreheads, we could snag crystal-clear dialog, even in chaotic, noisy scenes.
Wiring talent is very complex and it all starts with reading the sides and watching rehearsals.
I read the sides and create a wiring list organized by speaking order. This gives Juan the most effcient starting point for mixing the scene, moving from one fader to the next as the scene progresses.
Wardrobe indeed plays a significant role in how we wire talent. On Station 19, we were fortunate to have recurring costumes that provided us with consistent results. Among these was the Nomax, a semi-formal attire, alongside the firefighter turnouts. Consisting of a simple button-up firefighter shirt tucked into long pants, the Nomax presented us with a uniform wiring system that we could rely on for every talent wearing it.
Our process was consistent for every performer wearing the Nomax. We strategically placed the microphone between the first and second buttons of the shirt, with the wire running down to the transmitter on the ankle. Since about fourteen performers regularly wore this wardrobe, it was crucial to maintain consistency.
We did encounter some challenges with the costumes. Sometimes the actors would take off their shirts or helmets during a scene. However, we always had backup plans to handle these situations, ensuring that we could address any wardrobe-related issues without affecting the quality of the production.
We installed plant microphones in the firetrucks and ambulances, known as the Ladder and Aidcar. While we are familiar with placing microphones in regular passenger vehicles’ visors and cup holders, firetrucks present a unique challenge due to their spacious interiors and ample headroom.
Over the years, we have perfected our skills and developed specialized tools to place microphones near the talent discreetly. One of our most innovative solutions involved installing plates that enabled us to swivel and rotate three hundred sixty degrees at a moment’s notice, making it easier to make precise adjustments for capturing dialog based on the talent’s performances within the vehicles.
Jacques Pienaar – Boom Operator
As a Boom Operator on the hit TV show Station 19, I was part of a sound team pushing the boundaries of conventional location sound techniques. Led by Sound Mixer Juan Cisneros and Utility Sound Technician Scott Marshall, our team was determined to create an immersive experience for viewers despite the challenges of fast-paced and dynamic camera work.
One of the biggest hurdles we faced was the show’s multiple moving cameras and large cast. Traditional location sound-capturing techniques weren’t cutting it, so we had to think outside the box and devise innovative solutions to capture high-quality sound amidst all the action.
I was responsible for helping to adjust up scratchy mics on actors in a pinch, if something went wrong. I always boom actors when radio mics weren’t an option, in the scene or where the action caused too much movement on the lav microphones. Thanks to Scott’s mastery with the mics placed on actors, we got nearly all the dialog sound as final sound on the day, with very little being ADRed, unless it was added dialog after editing.
The cast’s willingness to cooperate in with the sound team made the process even more remarkable. I often said the actors were “part of the sound team department” due to their eagerness to help and understand the importance of location sound in bringing the show to life. This collaboration between the sound team and the cast was instrumental in achieving the show’s unique sound. We sure were a team and a family on this show.
Our unorthodox approach to sound, where booming was not always possible, set by numerous limitations on Station 19, has paid off. The show has—received critical acclaim for its immersive and engaging audio experience. As a member of the sound team, I’m proud to have been part of this innovative approach, and our work will inspire us in future productions to think outside the box when it comes to capturing location sound.
Juan Cisneros was always cool, calm, and collected. Despite the chaos and pressure of working on a fast-paced TV show, he remained level-headed and focused, always finding ways to problem-solve and ensure that the sound was of the highest quality. Scott Marshall supported Juan and me on the floor, providing expertise and quick thinking to overcome challenges.
Juan Cisneros CAS – Sound Mixer
My five years working on Station 19 have been an incredible journey filled with growth, friendship, and unforgettable moments. I am deeply grateful for the family and friends I gained on set and immensely proud of the work we accomplished together as a dedicated crew. I look forward to the day when our paths crosagain until we reunite in other shows.