One Man Show Kit
- Thread starter jrod81
- Start date
Lots "o" sandbags
Lots "o" sandbags
I keep thinking it's gonna take a lot of sandbags to hold that tripod down once you put a boom pole on it that can get the mic within 12" or so of the talent.
Lots "o" sandbags
I keep thinking it's gonna take a lot of sandbags to hold that tripod down once you put a boom pole on it that can get the mic within 12" or so of the talent.
Hey guys,
I am going to attempt to attach a picture of an SLR with a boom pole attached to a square... could someone link me to this pole or how to go about doing this... I am about to start conducting interviews and I will be a one man show so this seems wonderfully helpful:
View attachment 27878View attachment 27878
Steve House
Veteran
Even with that fancy rig there's no place to put a recorder and mixer, meaning you're still probably going to be recording directly into the camera's lousy built-in sound.
I've never understood why people go to such great length's to avoid partnering up with someone to work with them as a team. As a friend once put it, it's like stepping over a dollar to pick up a dime.
I've never understood why people go to such great length's to avoid partnering up with someone to work with them as a team. As a friend once put it, it's like stepping over a dollar to pick up a dime.
Because finding someone who has the technical knowledge AND the dedication to and interest in your project isn't that easy, especially when you can't pay.
LOL.... you mean WON'T pay!
manglerBMX
Veteran
why not just clip a lav on the out side of the shirt and keep it out of frame? you don't see ENG one man band tv guys running around with rigs like that do you?
johnnyevil
Active member
Steve House
Veteran
You don't see many professional one-man ENG 'crews' running around at all. Most of the time it is a team with two or three members.
ROCKMORE
Veteran
Or maybe a big rock.
it looks stupid...
the end.....
And yes you have to pay your soundguy when you also get money for project and yes you have to ask for more money to your client and yes he/she will complain then and yes you have
to explain then that the sound will be muuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuch better so that he/she will have more clients, more interested people, will have more profit and can buy 546060657464 villa's with a swimmingpool.
the end.....
And yes you have to pay your soundguy when you also get money for project and yes you have to ask for more money to your client and yes he/she will complain then and yes you have
to explain then that the sound will be muuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuch better so that he/she will have more clients, more interested people, will have more profit and can buy 546060657464 villa's with a swimmingpool.
manglerBMX
Veteran
i was mostly referring to local newsies, not nat'l crews.
Steve House
Veteran
Maybe local newsies from the cable access channel. At in least major market stations, the minimum crew is a cameraman and a field producer who also doubles over onto sound as needed. Standups and streeters might be a reporter with a hand-held mic and a camera op, so you could say sound is being handled by the reporter in such cases. Reality shows such as "Cops" will field a 3-person team ... camera, sound, and field producer. There's just so much that has to be done at once to deliver a broadcast quality product - and IMHO that sets the minimum bar for ANY paid professional video application - that just two hands, two eyes, two ears, and one brain simply can't do it all. You might have just one camera op gathering MOS B-roll but anytime sound beyond ambience is needed, more than one person is needed.
Last edited:
Chadfish
Veteran
Actually I think it's ingenious. I was just imagining a rig for a mic like this yesterday, only for use with a real video camera that has pro audio. It gives just enough reach to get better pickup of dialogue when you are standing close to the subject, but not so close it's uncomfortable. That boom pole looks like carbon, so it's not too heavy. I wouldn't dismiss it outright before trying it out.
Sam Mallery
Well-known member
Rigs like this have a place in the world. Not everyone can afford to pay a sound person for every shoot. There are some projects that must be done solo.
The rig that the original poster is inquiring about is the K-Tek Norbert. The boom pole in that picture is a customized version of their "articulated boom pole," which oddly isn't mentioned in the Norbert brochure. I would contact K-Tek and ask them about it.
The rig that the original poster is inquiring about is the K-Tek Norbert. The boom pole in that picture is a customized version of their "articulated boom pole," which oddly isn't mentioned in the Norbert brochure. I would contact K-Tek and ask them about it.
It can be usefull when you do an interview, one position, one direction of speaking, one place....
But....about the subject "hiring soundguy's"... Let me tell a little story
Once upon a time soundguys were hired a lot... they did sound for companymovies, publicity, and other small and big projects.
But then, there was one guy who thought "I'm going to skip the soundguy, so I can ask less money to my clients and then everyone will come to me".
Because for everything that carees a tie, sits in a leather chair at a big desk the rule is "The less money I have to spent, the better. I don't care if the sound is bad or not...they will put music on it so it will be ok, right ?"
The result is that everyone has to follow this "rule".
So the solution is to tell directors, managers of companies that having a soundguy is always good (specialy when there are interviews or capturing sound from what people are saying is needed). So they know they have to offer a little more money... Don't worry..they won't go bankrupt... But they will have a much better result.
But....about the subject "hiring soundguy's"... Let me tell a little story
Once upon a time soundguys were hired a lot... they did sound for companymovies, publicity, and other small and big projects.
But then, there was one guy who thought "I'm going to skip the soundguy, so I can ask less money to my clients and then everyone will come to me".
Because for everything that carees a tie, sits in a leather chair at a big desk the rule is "The less money I have to spent, the better. I don't care if the sound is bad or not...they will put music on it so it will be ok, right ?"
The result is that everyone has to follow this "rule".
So the solution is to tell directors, managers of companies that having a soundguy is always good (specialy when there are interviews or capturing sound from what people are saying is needed). So they know they have to offer a little more money... Don't worry..they won't go bankrupt... But they will have a much better result.
Is that why we do what we do? To get a better sound result?
I thought it was because I love the challenge of scaping together $$$ to buy gear that is actually made for production sound, spends thousands (yes, thousands) of hours practicing my craft in all weather conditions, humbly ask that everyone turn off their cells phones and yes, that also means you mr/ms director, and you, mr/ms producer, and double for you three PAs texting on the set. And then humbly ask that we do it one more time for sound, because the actors jangly bracelet is making an almighty racket on the un-covered glass dining table every time any key actor delivers a line. Or do a complete reset when the plan given for the corporate video is changed over breakfast while the crew is setting up, and we're notified of the change (swap out 4-6 lavs, reposition house/audience mics, reroute distribution) about 10 minutes before go time, and then have to just go for it, halfway thru the changeout when the hosts decide it's time to start with me or an assistant kinda hanging on their jacket lapel while we feverously attempt to plant the mic, drop the transmitter in their front pocket, and get out of the way of the both cameras which have hastily started rolling.
Oh, yea, I guess the result IS better sound....thanks for letting me vent. And yes, I do love it, and love it, and love it.
I thought it was because I love the challenge of scaping together $$$ to buy gear that is actually made for production sound, spends thousands (yes, thousands) of hours practicing my craft in all weather conditions, humbly ask that everyone turn off their cells phones and yes, that also means you mr/ms director, and you, mr/ms producer, and double for you three PAs texting on the set. And then humbly ask that we do it one more time for sound, because the actors jangly bracelet is making an almighty racket on the un-covered glass dining table every time any key actor delivers a line. Or do a complete reset when the plan given for the corporate video is changed over breakfast while the crew is setting up, and we're notified of the change (swap out 4-6 lavs, reposition house/audience mics, reroute distribution) about 10 minutes before go time, and then have to just go for it, halfway thru the changeout when the hosts decide it's time to start with me or an assistant kinda hanging on their jacket lapel while we feverously attempt to plant the mic, drop the transmitter in their front pocket, and get out of the way of the both cameras which have hastily started rolling.
Oh, yea, I guess the result IS better sound....thanks for letting me vent. And yes, I do love it, and love it, and love it.
j1clark@ucsd.edu
Veteran
I think this will give you the set up for a 'one man band', all you need is a clamp for your camera... and do remember to adjust for about 2000K lighting...