Although sometimes the utility pulls cable and wrangles it for the boom operator, the position has evolved to far more than just a cableperson.
As both mixer and boom operator(s) may be busy with their tasks at any given time, the utility may also apply or adjust personal microphones or actors' wireless transmitters, may move microphones or assist in running cables, and may liaise with other departments on issues such as noise minimisation and set lockdown.
Formal qualifications are not specified for technicians in studio environments, although employers typically look for basic numeracy and literacy, and a solid foundation in maths and physics.
Many applicants have A levels/H grades or have taken courses to certificate, diploma or degree level, such as ft2 (Freelance Film and Television Training).
A more specific, non-exhaustive list of duties on production sound environments for Utility Sound Tech includes handling most of the day-to-day operations outside of cameras rolling such as setting up carts for the day's work, ordering expendables from production, setting up bell and light system, setting up playback systems, wiring actors (rigging tiny wireless microphones hidden on actor's costumes), filling out daily timecards for the sound department, cleaning equipment, finding extraneous noisemakers, rigging hidden "plant" microphones on sets and picture vehicles, tracking equipment repairs and losses, coordinating frequencies, wrapping gear, and representing the sound department when the Production Sound Mixer and Boom Operator are not available.