Boom Mic Vs. Radio Lavs ??

Re: Boom Mic Vs. Radio Lavs ??

[quote author=ettubaby link=board=audio;num=1104880669;start=15#19 date=01/08/05 at 16:20:40]No one knows where the talent is place their distance.  the acoustics, etc .. all you can do is give possible erroneous advice.[/quote]

This is what I was trying to impart to Steve at start. Each situation is unique. I have boomed plenty a scene with only 3 actors that was impossible to get solid clean sound from with just a boom (second boom would not have help either) because of the blocking and camera angle. We use wireless and adr for a reason ;D It's not optimal but sometimes necessary.

We can offer Steve advice but without knowing the exact details of the shots, we are just guessing.
 
Re: Boom Mic Vs. Radio Lavs ??

[quote author=Dave_Fisk link=board=audio;num=1104880669;start=0#9 date=01/07/05 at 11:44:02]If you have a scene with 4 people talking, some of which are overlapping, you will need a really good boom operator, which are few and far between, and probably out of your price range.[/quote]

This seems like good advice... but leaves one big question that I have often wondered.

What exactly makes for a really good boom operator? I mean, aside from keeping the zep out of the shot, what exactly must the boom operator know to do?

I work with a fellow who's new to the trade, and does a good job... but what will take a beginner with a few shorts under their belt (that sounds odd...) to become "really good?"

Always looking to improve,
 
Re: Boom Mic Vs. Radio Lavs ??

[quote author=Bischofftep link=board=audio;num=1104880669;start=15#21 date=01/12/05 at 07:22:42]
What exactly makes for a really good boom operator?[/quote]

3 P's

Power, Precision, & Preperation.

Power-most obvious one is the ability to hold the boom all day long; more often overlooked then you would think. I have witnessed numerous boom ops holding their boom like a flagpole (at an upward angle as opposed to horizontally).

Precision-This is where you boom op needs to have plenty of experience. The boom ops ability to constantly keep speaking subject in the sweet spot and move seemlessly to it. Also the talent of the boom op to stay right at the frame line without going over...and keeping that distance consistent. A good boom op is constantly fighting to stay right at the frame line. Any idiot can keep the boom 2 feet above frame line but that will give you crappy sound.

Preperation-In narrative film the boom op should know the blocking and lines so they aren't "searching" with the boom for the next line.


A forth "P" could be "Plenty of apple boxes" :D At 5'10", when I boom, I am constantly in need of more of theses. :P
 
Re: Boom Mic Vs. Radio Lavs ??

[quote author=wabbit link=board=audio;num=1104880669;start=15#22 date=01/12/05 at 11:34:20]

3 P's

Power, Precision, & Preperation.

Power-most obvious one is the ability to hold the boom all day long; more often overlooked then you would think.  I have witnessed numerous boom ops holding their boom like a flagpole (at an upward angle as opposed to horizontally).  

Precision-This is where you boom op needs to have plenty of experience.  The boom ops ability to constantly keep speaking subject in the sweet spot and move seemlessly to it.  Also the talent of the boom op to stay right at the frame line without going over...and keeping that distance consistent.  A good boom op is constantly fighting to stay right at the frame line.  Any idiot can keep the boom 2 feet above frame line but that will give you crappy sound.

Preperation-In narrative film the boom op should know the blocking and lines so they aren't "searching" with the boom for the next line.


A forth "P" could be "Plenty of apple boxes"  :D  At 5'10", when I boom, I am constantly in need of more of theses. :P[/quote]

ok lets start with power , thats good - but frankly evege guy can do 35 mm shotes - 11 minutes maximum with idiots who run 30minuts shotes with dv mothing would help
presision - thats good but if the guy is an idiot that wouldnt help allot -

preparation - thats good also - foto memory is the best
now lets talk about what really you need from good booman


hight - at least 180 cm ( 6 feet)
coordination - good legs , abillity to recognise the bit of the dyalog and see the actor moovment befor he does it
gentle touch on the stick
fast thinking if there come to be change in the scene that wasnt on rehersal
abillity to see the problems during the setup building ( light , stuff that can make him hard time during the booming)
abillity to communicate with the camera department - he doesnt have to bother me becouse every thing - if can solve the problem by him self
good relations with the cast - abillity to understand the actors psichoza :-)
to know exacly the lenses
to place the lavs and plant mikes ( usially i do it my self , but sometimes i dont have the time to do it so i need help)
good booman is my second par of ies and ears on the set

for the end - he has to be your friend and not imploi

so lets say to the end if you are looking for good one start with 1.80 , not frostrated, intelegent , politycly corect ,drum player with exellent rithm , photo memory and good character
all the other **** i can teach in 2 days
i have 2 like that
 
Re: Boom Mic Vs. Radio Lavs ??

Oleg, I agree with your points...but you didn't make a pneumonice device with them. ;D

And as for the height thing...the taller the better but I had a 6'3" guy boom for me once and he couldn't hold boom over head for more than 4 or 5 minutes at a time (it was a carbon fiber pole and he appeared to be in shape). Also when you are doing 10 to 12 or more hour days, I have had boom ops crap out late in the day, start to get shakey, lose focus, and slow up the productions.

Anyways, as I said I am 5'10" and when I used to boom regularly (still do it when I one man sound crew) an apple box or some creative solution would more than cover the extra couple of inches. :D (can you tell I took offense to the height thing... :o)
 
Re: Boom Mic Vs. Radio Lavs ??

I'll share with you an experience I had on a recent shoot. We ran four tracks -- two into the camera, two into a dat. We used Lectrosonics 2xx wireless with Countryman B-6's (incredible mics for hiding on the actors, I highly recommend them if you can afford them). We also always captured room tone everywhere because the audio from the lavs will be fairly flat and you will want to mix the room tone in during post.

One of the reasons we went this way is that the director has extensive post sound experience and wanted to capture each actor on a separate track. It also helped reduce the echo in some of our locations (we shot more than half of the film on an aircraft carrier where we had lots of echo, light noise and other sounds that were out of our control.

HTH.
 
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