removing boom guy in post for WS?

K

kevin baggott

Well-known member
Shooting a pilot in coming weeks and I have a lot of Wide Shots where I wont be able to hide the mic (lav or boom) - example a pool scene - is it common to mask the boom guy in post?
I've had editors in the past do some of this masking on a shot or two - but it was pretty time consuming. I know it's best to do this on static shots.
Appreciate any advice. Thanks
 
If it's a static shot it's pretty simple. Lock off the camera. Shoot the wide with the boom operator in frame. Then clear him out after the take and get a clean plate. Then matte the two together.
 
Batutta said:
If it's a static shot it's pretty simple. Lock off the camera. Shoot the wide with the boom operator in frame. Then clear him out after the take and get a clean plate. Then matte the two together.
Click to expand...

Except when the clouds moving through the shot make the exposure of the mask area plate different lighting and levels...
If it's a nuclear bright day with no clouds, pretty easy on a lock off.
 
Other options are;

- Place a plant mic in a prop such as some toy floating in the pool
- Shoot with the boom mic out of frame to get a reference track. Immediately after the take, have the actors redo the scene with the boom in the scene. Most actors can redo the take well enough to dub the second take audio onto the good take.
- ughh, ADR
 
You could still probably match the exposure in post pretty easily. With the tools today, I wouldn't call this time consuming. Now if it was a moving, traveling shot, that increases the difficulty ten fold.
 
Thanks guys,
Very helpful.
Yeah - they're all static shots I had in mind.
Paul - F - good tips. Merci. Everyone.
Peace - Kev
 
'If it's a static shot it's pretty simple. Lock off the camera. Shoot the wide with the boom operator in frame. Then clear him out after the take and get a clean plate. Then matte the two together.'
Hey Batutta - thanks for the above - I was watching some vids on this. One question - and ya don't have to go into too much detail as the editor will be doing the masking - but when I clear out the sound guy from the shot should the clean frame be as long as the take with the sound? Curious.
thanks
 
kevin baggott said:
'If it's a static shot it's pretty simple. Lock off the camera. Shoot the wide with the boom operator in frame. Then clear him out after the take and get a clean plate. Then matte the two together.'
Hey Batutta - thanks for the above - I was watching some vids on this. One question - and ya don't have to go into too much detail as the editor will be doing the masking - but when I clear out the sound guy from the shot should the clean frame be as long as the take with the sound? Curious.
thanks
Click to expand...

It doesn't have to be. Technically you could just use a still, but there might be a subtle moving grain depending on the sensor, asa and compression where a clip would more seamlessly blend, but a few seconds of that could be looped to fit.
 
I should add, make sure whatever space the boom operator is in, whatever is behind him is static. No moving tree or things flapping.
 
One other thought, if you really don't want to deal with compositing, make the wide shot so wide you can't really make out the characters mouths well, shoot without the boom in shot and then just use the dialogue from the close ups.
 
Batutta said:
One other thought, if you really don't want to deal with compositing, make the wide shot so wide you can't really make out the characters mouths well, shoot without the boom in shot and then just use the dialogue from the close ups.
Click to expand...

Absolutely this, a technique that’s been around (and very effective) for a very long time.

It’s easy to see the master shot only, and to start to worry about how you’re going to cover audio. Unless it’s a single-shot, one-take kind of deal, you’ll have coverage to work with. The super-wide shots are typically used only for a few seconds anyway.

There are also creative ways of dealing with sound on the master shot. Plant mics are immensely helpful if there are props or set pieces in the right places; even if they are only able to grab enough for editing and ADR reference, they’ve done enough. There are also wireless systems that are small enough to hide just about anywhere, including bathing suits (and some of those transmitters are even waterproof).

I’ve worked in both scenarios (shooting a :30 plate, or relying strictly on coverage) many times, but more often we go with coverage rather than shooting a plate. To make the plate work takes a lot of attention to detail as well as consistent lighting.
 
Batutta said:
One other thought, if you really don't want to deal with compositing, make the wide shot so wide you can't really make out the characters mouths well, shoot without the boom in shot and then just use the dialogue from the close ups.
Click to expand...

Alex H. said:
Absolutely this, a technique that’s been around (and very effective) for a very long time.

It’s easy to see the master shot only, and to start to worry about how you’re going to cover audio. Unless it’s a single-shot, one-take kind of deal, you’ll have coverage to work with. The super-wide shots are typically used only for a few seconds anyway.

There are also creative ways of dealing with sound on the master shot. Plant mics are immensely helpful if there are props or set pieces in the right places; even if they are only able to grab enough for editing and ADR reference, they’ve done enough. There are also wireless systems that are small enough to hide just about anywhere, including bathing suits (and some of those transmitters are even waterproof).

I’ve worked in both scenarios (shooting a :30 plate, or relying strictly on coverage) many times, but more often we go with coverage rather than shooting a plate. To make the plate work takes a lot of attention to detail as well as consistent lighting.
Click to expand...

This is what I've been thinking... If it's just the master wide and you're going to go in and shoot for coverage, you get the dialogue then.
 
Thanks guys,
I haven't made a film in a couple of years and I just forgot, 'schmuck how long are you going to be on the master?' Not long. Yes it's what I did in the past - grab some lines from the coverage. Whew. Thanks everyone.
 
Are you saying that you have ONLY Wide Shots? Is this scripted? Or "reality" ad-lib, unprdictable?

Assuming scripted, is there a WS "establishing shot" or "cover shot", and then Close Up shots of each of the characters?
Isn't it common practice to edit the scene with the CU shots (and accompanying dialog tracks)?
And then cut to the WS but using the CU dialog tracks.
 
kevin baggott said:
Shooting a pilot in coming weeks and I have a lot of Wide Shots where I wont be able to hide the mic (lav or boom) - example a pool scene - is it common to mask the boom guy in post?
I've had editors in the past do some of this masking on a shot or two - but it was pretty time consuming. I know it's best to do this on static shots.
Appreciate any advice. Thanks
Click to expand...

Paint the boom equipment green. Key it out, and rotoscope/garbage matte only what you can't key out.

Occasionally shoot some clean plates, if you think you need it.

But don't take my word for it, maybe test it with a painted green broom or stick. see how it goes. Maybe A green mic would cause other issues with refelections.

Camera and audio stores should sell green foam pop filters for most mic sizes.

I've seen all this done, but never did it myself.
 
Last edited:
You can immediately after each scene record audio Without cameras rolling. I know a guy essentially making omb feature length niche films that were very profitable using that technique. Many scenes were recorded in a makeshift sound booth/Trailer on set of popular ex-spy in Miami tv series.
 
kevin baggott said:
Shooting a pilot in coming weeks and I have a lot of Wide Shots where I wont be able to hide the mic (lav or boom) - example a pool scene - is it common to mask the boom guy in post?
I've had editors in the past do some of this masking on a shot or two - but it was pretty time consuming. I know it's best to do this on static shots.
Appreciate any advice. Thanks
Click to expand...

I would say a consideration is overdubbing wide shots.. shoot it wide then shoot it tight with a conventionally placed boom (18in), use the audio from the tight shot over the wide image. Or even just record the actors static but Ive not done that apart from the odd word.

Will work best on a really wide as the lips will be hard to see.
 
You must log in or register to reply here.
Back
Top