Boom operator question

T

turbo2ltr

Active member
Hello all.. been lurking in the awesome forum for a bit and figured I'd post a question I didn't see an answer to.

I have taken on a roll as the sound person in a no buget production. I have a lot of experience with audio, but more in a live performance setting so the mechanics of movie audio is a bit new. I am not used to having to invisably mic the talent.

Take for instance a medium shot with two people in it that are only a few feet apart. I understand you could put a shotgun mic on a boom, hold it above their head (or below, depending on the framing) and get some decent sound. (right?)

But what about when they are farther away (say 10 ft) and the shot is wide? What is typically done then? Is the boom swung back and forth? Someone told me this is done and I didn't believe it was possible, especially if it's fast moving dialog.

Any online resources that gives the basics of boom control?

Thanks,
Mike
 
The audio operator might boom in a situation like this, but you're definitely getting into the wireless realm if the distance is over 10' or if you are on an extended walk and talk shot.

Even with a lightweight KTek carbon-fibre pole, most operators are hard-pressed to maintain acceptable headroom (empty space over the talent) with 10' of cantilever - even harder with a full zeppelin and / or windjammer.

An audio operator should have a good set of wireless mics on any given show - we use a mix of Trams, Lectros, Sanken and Sennheiser in our work. You can get into a nice non-diversity Sennheiser E100 kit for $499 - $599 depending on the option you choose. We use Dr. Scholls Moleskin product for super-grippy rustle-free taping to the talent's body.

Once you have a solid wireless kit, you'll find it in constant use. We recently did a 25 mile, 75mph tracking shot on 1-85 from one vehicle to another using dual Lectro wireless mics mixed down directly into our F900 CineAlta. There was less than 6' between the character and our camera car, but it would have been impossible to achieve usable audio with a shotgun mic. Of course, that shot was a little extreme...

e
 
how wide is the shot? , usually if the headroom is dissent and there is fast dialog 2 booms are used , for very wide , wireless mikes or adr after.
sometimes , mix of 2 wiers and the boom from above to open more the sound , the boom can go up to 20 feet long , the movement is quit hard but with normal dialog it can be done ( remember thise lenght is for outsie shote with mike zeppeline and the fure , multiply the weight by the feet and you are working very hard:-)
, if you are playing drums and you are 6 feet , little practice can make you good booman
a wide angle can make you rest all day :-)
 
overlandfilms said:
The audio operator might boom in a situation like this, but you're definitely getting into the wireless realm if the distance is over 10' or if you are on an extended walk and talk shot.

Even with a lightweight KTek carbon-fibre pole, most operators are hard-pressed to maintain acceptable headroom (empty space over the talent) with 10' of cantilever - even harder with a full zeppelin and / or windjammer.

An audio operator should have a good set of wireless mics on any given show - we use a mix of Trams, Lectros, Sanken and Sennheiser in our work. You can get into a nice non-diversity Sennheiser E100 kit for $499 - $599 depending on the option you choose. We use Dr. Scholls Moleskin product for super-grippy rustle-free taping to the talent's body.

Once you have a solid wireless kit, you'll find it in constant use. We recently did a 25 mile, 75mph tracking shot on 1-85 from one vehicle to another using dual Lectro wireless mics mixed down directly into our F900 CineAlta. There was less than 6' between the character and our camera car, but it would have been impossible to achieve usable audio with a shotgun mic. Of course, that shot was a little extreme...

e
Click to expand...

few years ago 300 feet dolly shot with maximum extended boom ( 5 miter) with 816 and full zeppeline , 3 people , 23 takes , neach take about 6 minute i can give you the name of the booman if you come her , 1 of 2 that i really call tomy jobs , only ones the boom was in shot , no wierless
the booman is the best tool in your kit
 
Like I said, it can be done - booming a long master shot is just a lot more work than wiring up two talents for take-after-take repeatability with no worries on headroom. Imagine the difference of simply having to monitor the 2-channel wireless mix on your 302, versus having to watch headroom and levels at once - all while walking backwards.

If you're up for results, I personally would go wireless - if you've got something to prove and want a gold star (or usually not) then definitely do the 20' of cantilever boomed master shot.

The question of booming versus wireless must be sorted out on a shot by shot basis. If you are in close with little movement, the shotgun certainly can be the best tool for the job, panning quietly between talent playing close together.

e
 
nothing to prove , that what he paid for .
that what they pay me to make a decisions to use him or not .
of course this is not one man job with mixer on the shoulder and full lengh stick .
but when you have written scene and the camera operator dont swim , this is the normal way to make things .
i forgot , you need good memory to remember the text, as good as the actors - better then the actors:-)
 
That's a good point too! Good boom operators pay close attention through any rehearsals and are able to predict the moves based on what they see. If your talent can repeat the move and your boom op. is paying attention, well, then you're golden!

e
 
As a general rule I try to use the wireless as a backup when I can. On the wide shots I usually have the wireless as a failsafe but still work to get a boom or plant mic in there. I got one 18' boom and presently have a boom op who works his ass off. Even if the camera is dropped way back, there is usually a way to get the boom over the heads without having to extend to the full 18'. Stand parallel with the actors just off screen left or right.

Headroom is usually what kills you in the wide which is why a good soundman needs multi mics including a long shotgun (the trickiest of mics to master).

Other then a complicated dolly move, the most difficult scene to boom (IMHO) is the medium to wide shot of 2 (or more) actors speaking towards camera with one in foreground and other deep in background. This is the time I have to pic up a 2nd pole.

Cheers
 
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