Boompole

I agree with Kaizerman when he suggested:
"choose at least 3m carbon fiber for ducumentary , at least 5 m for fiction"

Adding to his comment, I would make sure that your 3m carbon fiber Doc/ENG pole has an INTERNAL COILY cable. When you are running down a hall-way booming someone or backstage at a concert following Ozzy Osbourne you don't want your boom cable catching on any door knobs...!

If you are shooting scripted/narrative work larger poles are best. Carbon fiber is great but the cable doesn't have to be coily. You will typically have time to feed out the correct amount of cable before each shot. Besides, coilys don't work on large poles very well because the coily will get knotted due to cable spin after a week of constant use. Not to mention that the poles are cheaper an more reliable when they come with a strraight (uncoiled) cable.




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While expensive doesn't always translate to quality, there is usally a correlation between functionality and price. It has been my experience in many areas, not just with audio and video/photography gear, that buying cheap usually is the most expensive in the long run.

To get where you want to be, you must always look and act like you're already there.
 
I don't know where people get these ideas but pros are not looking to blow huge wads of cash on frivolous things because they will impress someone. Yes appearence matters but if a $10 painters pole were useful then I would recommend everyone making low budget movies to get one. But to anyone who has carried the pole over their head for hours at a time over a 12 hour day this simply is suicide.

When held in the proper H position and moving around varied environments the need to adjust your pole on the fly becomes critical. Keeping the proper balance makes it possible to stay on target over extended takes. If you hold the pole in a flag pole postion then maybe you don't need to adjust the length but your audio is going to be several feet off optimum. To some semi-pros/amateurs this is adequate so a broom handle will work for them. For professionals, flag pole postion and sloppy boom work is 90% why amateurs sound like amateurs.

I have never met a client who knows the difference between a $100 and $700 pole or what the proper way to boom is; I do and it matters. If you are the one who is actually doing the boom work then buy the painters pole, when the weaknesses become obvious move up to a $100 pole but don't even sample a quality pole because your pocket book will quickly become lighter.

It is your choice on how you approach your audio work. The thousands that have gone before you were no less interested in saving money where they could. There is a reason why they spend the money they do on what they do and it aint vanity. If you want to learn for yourself then have at it. But as SMuit posted the client is not going to blame your equipment, they are going to blame you.

Good luck
 
I use vdb, internal cable. I remember Oleg complained about a vdb some time back, not locking properly when extended if memory serves correct.

Mines been exceptional.
 
p.o.s. wow that is one great piece of something. Great I'll go out and get one for myself. The only thing I can say about a painter's pole is that if you aren't being paid to do a professional shoot get one. If there is no money for anything other than cast and crew meals get a painters pole and make it work.

But if you are being paid, if you are being funded make sure not to over look the sound department in your budget. Get a real boompole. Not only does it matter to look professional it is designed to hold a boom microphone. A painter's pole name says it all. PAINT.
 
I knew you guys are going to tear me appart for that painter stick and fishing tackle boom poles :)

It´s like saying a Porsche is better than a VW Beatle.

It sure is, but the VW also takes me there (a bit slower, less comfortable) but for a much better price.

Hey, how long are those expensive high-tech fiber/carbon fancy sticks around?
What did they use before?
Was all the audio crapy and noisy (boomwise - not because of recording equipment)?
Where all the audio guys Hulks in the days of aluminum poles?

Well to each his own. I stick with my stick until I find a good reason (or problem) for me to shell out big $$$ for better other one.

Frank
 
Postmaster said:
It´s like saying a Porsche is better than a VW Beatle.
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Actually, its more like saying that if you're looking to dig a hole, a shovel will work better than a dinner plate. The latter may be more reasonably priced, but the former will be a more effective tool.
 
SMuir said:
Actually, its more like saying that if you're looking to dig a hole, a shovel will work better than a dinner plate. The latter may be more reasonably priced, but the former will be a more effective tool.
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Hey that's not fair. Who is going to dig a hole with a plate? :huh: I think it's more like a shovel vs. a table spoon. :(
 
Good or bad analogies aside, anything that gets the mic from off screen over to the talent can technically work; I once saw a picture of some guys literally using a tree branch to boom a mic. So if a person wants to try the painter pole, or a branch for that matter, then, at that price, have at it. But be sure to experiment before you take it out on a shoot where you might be wasting other people's time and money.

To your questions; aluminum works fine, I spent years booming with aluminum. The weight is not the biggest problem but of course less is better.

Before the handheld boom they had what they still use in studios today; dolly booms.

No need for hulks to boom as proper boom work is very little about strength; you need to balance the boom properly and hold it in the correct position. Some of the best boom guys are tall lanky dudes (and dudettes for that matter). Flip side, I have watched some of the hulkiest men crumble in less then 5 minutes because they didn't know how to hold the pole properly.

For cheap recommendations, a few posters on here seem to like the Gitzo 12' carbon fiber. I think it is just under $300.

Cheers
 
Cedric Akins said:
Oleg which one boompole would you recommend, and why that particular one?
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loon audio,ktek , ambient - all works grate
the loon is the quest between on slidinng
for long booms loon or ambient as stay more straight under heavy weight
vdb - i see dozents here which not lock in rental houses ( the new models)
the old ones where much better ( still have a couple)
 
Has anyone ever tried one of these, Lightwave G-5 News 5 section Carbon Fiber Boom Pole? I am considering trying this if I can find anyone on the board to give a review of it if they have it.
 
Cedric Akins said:
Has anyone ever tried one of these, Lightwave G-5 News 5 section Carbon Fiber Boom Pole? I am considering trying this if I can find anyone on the board to give a review of it if they have it.
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I haven't used it but I had a chance to handle one at Trew Audio a couple of months ago - seemed well made. Was considering it but decided I need something a bit longer.
 
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