Boom Pole
- Thread starter filmelife
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Alan H. Chang
Veteran
Hey Hey,
Good to hear that you are training a boom op. Not an easy skill there, but the right person makes them invaluable. There are so many different kinds out there. What is your budget? Without your budget, we can't recommend any. Also, what length do you want your pole to be in? Usually the longer the better so that you can have a counterweight in the back when not fully expanded. Weight counts.
Good to hear that you are training a boom op. Not an easy skill there, but the right person makes them invaluable. There are so many different kinds out there. What is your budget? Without your budget, we can't recommend any. Also, what length do you want your pole to be in? Usually the longer the better so that you can have a counterweight in the back when not fully expanded. Weight counts.
Alan H. Chang
Veteran
So I'm guessing it's around $450USD
Gitzo:By Price
Minimum, G-557 103", which is about 8.7'. ~2.0 lbs Light
Next, G-557C 108", which is about 9'. ~1.15 lbs Lighest
Then, G-7680 150", which is about 12.5'. ~3 lbs Heaviest
Finally, G-7680C 151", which is about 12.5'. ~2.0 lbs Heavier ~278 CAN
K-tek:
KE-110 9' 2", ~2.0 lbs
KE-110C w/ internal coiled cable ~278CAN
VDM:
Some poles are not up on par compared to the K-tek nor the Gitzos.
Just some of my recommendations. The G-7680C is 1M or 3 feet longer than the K-tek KE-110C. Both around the same weight and have the possibility of internal cabling. It's a matter of how you want the feel of the interlocks between each section.
Gitzo:By Price
Minimum, G-557 103", which is about 8.7'. ~2.0 lbs Light
Next, G-557C 108", which is about 9'. ~1.15 lbs Lighest
Then, G-7680 150", which is about 12.5'. ~3 lbs Heaviest
Finally, G-7680C 151", which is about 12.5'. ~2.0 lbs Heavier ~278 CAN
K-tek:
KE-110 9' 2", ~2.0 lbs
KE-110C w/ internal coiled cable ~278CAN
VDM:
Some poles are not up on par compared to the K-tek nor the Gitzos.
Just some of my recommendations. The G-7680C is 1M or 3 feet longer than the K-tek KE-110C. Both around the same weight and have the possibility of internal cabling. It's a matter of how you want the feel of the interlocks between each section.
Jonathan_P
Well-known member
Alan - are there any disadvantages to poles with internal cabling?
Also, could you talk a little more about "It's a matter of how you want the feel of the interlocks between each section."?
Thanks!
Also, could you talk a little more about "It's a matter of how you want the feel of the interlocks between each section."?
Thanks!
craigbowman
Veteran
killfilm said:
If you're "training" someone, shouldn't you already have many years of knowledge and experience to pass on?
wabbit
Evil has Ears
craigbowman said:
First thing that went through my head but hey, it's a monkey job right? :grin:
What film school are they teaching proper booming technique? I know of one film school and one film school alone that actually has someone who knows what they are talking about when teaching their students audio. Rest of them have some guy with zero audio experience do 10 minutes on booming for students who would much rather be operating the camera anyways; "Hold the pole up, get it kinda over their heads and pointed in the general direction of their mouth. Done, your a boom op now!"killfilm said:
But I am certainly interested in hearing about another one.
Jonathan_P said:
Cable management versus coiled cable slap is the concern. Up to the individual to decide which is more important. Internal cabled is very popular but I think a lot of people like it just because it looks more professional to some. Talk to guys who actually boom for a living and you will find 7/10 prefer external (not scientific data).
I have both and once you learn how to keep the cable tight I vastly prefer external cabling. You can get away with much more extreme boom moves without the vicious cable slap.
ENG and/or tight to wide shots in cramped situations: internal cabled
Longer pole length, external wide shots: external cable
IMHO
filmelife
Well-known member
My major was in audio and i was really good infact i scored mostly 98% on shoots, but then again you dont even work on hollywood shoots either
Actualy they prefer internal wiring since any slight touch of the cable will cause noise
Sure, its called audio class
So do you have monkeys working for you
rogar-Dum(DBG):If there's one thing the industry can do without its people who look at others and forget where they started
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wabbit
Evil has Ears
Which school? As I said I only know of one film school (in US) that has comprehensive audio training. There are several schools that teach audio and have a good sound for film course. One excellent one here in Seattle in fact. But that is different from film schools which are notorious for having zero audio training.
I was just asking which school since I would like to know of more then one I am aware.
Sorry if you think I was firing one across your bow but that was not my intention. Pure curiosity.
Peace dude.
(for the record, I would have preferred a monkey to some boom ops I have dealt with
)
I was just asking which school since I would like to know of more then one I am aware.
Sorry if you think I was firing one across your bow but that was not my intention. Pure curiosity.
Peace dude.
(for the record, I would have preferred a monkey to some boom ops I have dealt with
)
filmelife
Well-known member
no offense taken wabbit, nice to meet you
when i said i was training someone, it meant what i know of boom operating, i did it for about 4months in college, and we only used one pole that was kinda moldy and the 416T
I learned the setting up, wraping, pointing and understood how exhausting it can be to hold it up during long dialog scenes. My other major was camera operating.
So since i will operating on an upcoming production, iam teaching what i know to this guy (really reliable and fast learner) how to boom operate and bought him all the equipment, i'm also teaching his brother how to mix.
lots of pressure, but hey its worth it man, script writing is in progress (also me), sound and video post (also me), the brain can take so much
Everyday we learn from one another, thats why i like DVXUSER, and some friends who became really succesful in the industry didnt brag but were very humble and helpful
peace buddy
when i said i was training someone, it meant what i know of boom operating, i did it for about 4months in college, and we only used one pole that was kinda moldy and the 416T
I learned the setting up, wraping, pointing and understood how exhausting it can be to hold it up during long dialog scenes. My other major was camera operating.
So since i will operating on an upcoming production, iam teaching what i know to this guy (really reliable and fast learner) how to boom operate and bought him all the equipment, i'm also teaching his brother how to mix.
lots of pressure, but hey its worth it man, script writing is in progress (also me), sound and video post (also me), the brain can take so much
Everyday we learn from one another, thats why i like DVXUSER, and some friends who became really succesful in the industry didnt brag but were very humble and helpful
peace buddy
dailyrushes
Active member
>What film school are they teaching proper booming technique?
I went to LA City College (LACC) six years ago and they taught film editing on film and had a real sound class, which to my knowledge, still is being taught by experienced sound guys. Each semester they actually shoot a short film with the whole sound class taking turns at each job (including booming and mixing of course) Not so sure they're still using Moviolas, flatbeds or film, though.
To my knowledge, a core group from that school started USC film school, by the way. They've been around for a long time.
I went to LA City College (LACC) six years ago and they taught film editing on film and had a real sound class, which to my knowledge, still is being taught by experienced sound guys. Each semester they actually shoot a short film with the whole sound class taking turns at each job (including booming and mixing of course) Not so sure they're still using Moviolas, flatbeds or film, though.
To my knowledge, a core group from that school started USC film school, by the way. They've been around for a long time.
dailyrushes
Active member
AFI students, on the other hand, have to hire their sound guys from other places!
wabbit
Evil has Ears
Man, I apologize for going down this road because I now see it can only end badly.
I want to phrase this gently, but the kindest way I know how to say it is; the 3 people I know who graduated from USC found the audio portion "lacking" compared to the other areas of training. Despite the sound for film celebrity surrounding a few of it's alumni, USC's film school program, at it's very best, is just not what you would expect from a school having a place in sound design history.
Not looking to debate that point so if you experience with their program is different then chime in, I certainly will not argue.
To try and approach my point from more positive viewpoint:
What you will find is that GENERALLY people who are working professional in sound for TV & film have either been trained via a music or audio engineering program or learned through a apprenticeship/mentoring relationship.
For whatever reason, universities have decided to keep their audio education separate from pretty much every other portion of video/movie production. Considering the completely different technical information needed for picture and sound, it does make some sense but it would also be helpful for the long run if there was more crossover in these two schools (could write a whole book on how how some muscial training can make you a better actor, editor, writer, and certainly director).
Hence, when someone says they graduated a film school, they usually have not received much in depth audio training. Many to the point of downright negligence. Any place that is the exception to that rule I would certainly like to hear about.
Again, I apologize for approaching my inquiry into which school killfilm attended from such a potentially inflammatory way. :embarasse
Back to your regularly scheduled boompole discussion.
I want to phrase this gently, but the kindest way I know how to say it is; the 3 people I know who graduated from USC found the audio portion "lacking" compared to the other areas of training. Despite the sound for film celebrity surrounding a few of it's alumni, USC's film school program, at it's very best, is just not what you would expect from a school having a place in sound design history.
Not looking to debate that point so if you experience with their program is different then chime in, I certainly will not argue.
To try and approach my point from more positive viewpoint:
What you will find is that GENERALLY people who are working professional in sound for TV & film have either been trained via a music or audio engineering program or learned through a apprenticeship/mentoring relationship.
For whatever reason, universities have decided to keep their audio education separate from pretty much every other portion of video/movie production. Considering the completely different technical information needed for picture and sound, it does make some sense but it would also be helpful for the long run if there was more crossover in these two schools (could write a whole book on how how some muscial training can make you a better actor, editor, writer, and certainly director).
Hence, when someone says they graduated a film school, they usually have not received much in depth audio training. Many to the point of downright negligence. Any place that is the exception to that rule I would certainly like to hear about.
Again, I apologize for approaching my inquiry into which school killfilm attended from such a potentially inflammatory way. :embarasse
Back to your regularly scheduled boompole discussion.
mikecentola
Well-known member
good information in here. i also am in the boat of training myself in good audio, and passing that onto someone who can help with shoots that we have coming up. I will look into the gitzo boom pole also
BrianMurphy
Veteran
If you are looking for a good pole ( I have a VDB-Carbon-16foot) check out the used market. Trew audio in Toronto have a used gear page and there are a couple of great poles there. trewaudio.com
good used gear is often a much better investment and don't forget you'll need shockmount, and wind noise suppression of some sort.
good used gear is often a much better investment and don't forget you'll need shockmount, and wind noise suppression of some sort.