Frequently Asked Questions

I start every project by breaking down the script or creative to determine the exact sound equipment required, whether additional crew are needed, and if any specialized or unusual gear should be sub-rented for the shoot. I also look at where smart compromises can be made if the production is working within a constrained budget. When possible, I attend the location scout to identify potential sound issues such as HVAC systems, refrigerators, nearby freeways, airport flight paths, or other environmental noise, and work with the team to shut down or mitigate these problems in advance. If a full scout isn’t possible, I conduct a quick on-the-day assessment to address the same concerns. Additionally, I coordinate closely with post-production and the camera department to align on workflow, technical specifications, and equipment compatibility, including any proprietary camera cables or required adapters, ensuring a smooth production and post-production process.

I understand that every production has different creative needs and budget realities, so I aim to be flexible within reason  My rates reflect many years of on-set experience, a strong track record with high-level productions, and the ability to anticipate and solve sound issues before they become problems. This level of expertise is often what prevents costly delays, reshoots, or post-production fixes.

Generally, I do not offer half-day rates, as even short shoot days—once prep time, equipment check, and travel are factored in—rarely equate to a true half day. Additionally, when I’m booked, the entire day is effectively committed, making it impractical to take on another project. That said, I’m always open to discussing a fair and reasonable rate that takes into account the scope, schedule, and needs of your shoot.

I quote a day rate for labor and a separate equipment (sound package / box rental) rate. This approach keeps things clear and flexible, as equipment rentals are  taxed differently than labor and the equipment rate can be easily adjusted if the technical needs of the shoot change at any point.

Yes I am member of IATSE local 695 in good standing and can work on union productions and on union stages.

Absolutely. The primary difference is how labor rates are set. On union productions, rates are determined by the applicable IATSE agreement, while on non-union projects my day rate is negotiated directly with me. There are no union restrictions preventing me from working on non-union shows.

It depends on the project. For simple documentary setups, a mixer can often handle both roles. Reality shows are more variable and depend on the number of wireless microphones, the amount of active boom work required, and the complexity of the scenes. For narrative, scripted, or performance-driven work, having both a mixer and a boom operator is highly recommended.

With two hands on a boom pole, it’s not practical to also adjust audio levels and manage multiple microphones—just as it would be unrealistic to ask a camera operator to work without a focus puller. A dedicated boom operator (or A2) allows for better mic placement, faster talent mic adjustments, and quicker troubleshooting on set. Ultimately, a sound team improves efficiency, captures higher-quality audio, and significantly reduces issues that would otherwise need to be fixed in post. On large scale productions in addition to a boom operator, a utility sound tech is an essential addition to the sound crew.

My primary focus and expertise are in production sound. While I have a working understanding of post-production sound and can handle limited tasks when needed, it is not my core skillset. My role is to be the first link in the audio chain, capturing the highest-quality sound on set. This includes providing a clean, reliable mix for picture editors to cut with, as well as properly recorded mix and ISO tracks that give post-production sound teams the best possible material to work from. High-quality production audio is the foundation of great post-production sound, and that is where I add the most value.

I’m based in the Los Angeles area and am available to work anywhere within a day’s drive of LA as a local hire. I’m also very happy to travel and regularly work nationwide and internationally. I have extensive experience working on productions around the world and am highly familiar with traveling with professional sound equipment.

For projects that move between multiple locations, there’s real value in bringing along a tightly knit crew that already works together like a well-oiled machine, rather than taking chances on unfamiliar local hires at each stop. I’m also a dual citizen of the United States and the United Kingdom, with current passports from both countries, which helps streamline international travel and work logistics.