removing boom guy in post for WS?

James0b57 said:
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.
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Schoeps actually makes a chroma green version of the “Schoeps Blue”(CMIT 5) for keying work. If I was going to buy a “Blue”, I’d actually order the green version, because 1) I’ve never seen anyone with one in the wild and 2) I love green.
 
Hadn't seen these last couple of comments - thanks for all the great tips.
"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."
Sure this is what I've done in the past. I as an actor will often improv a line here or there and kind of allow it with other actors to dig deeper into the moment - so the dialogue is not always word for word what is written.
Anyway - I did record clean dialogue of the whole scene after all our coverage was taken at the end of the day.
Thanks for all the great tips though people.
 
I as an actor will often improv a line here or there and kind of allow it with other actors to dig deeper into the moment - so the dialogue is not always word for word what is written.

This is a great luxury - when you have a pro sound team and a decent VFX team on set then you can have such a luxury. Its a classic director error on small sets they go for the big 'oner'. The shot in wide only. The long improv. All luxuries that Wes Anderson has and we might not.
 
'This is a great luxury - when you have a pro sound team and a decent VFX team on set then you can have such a luxury. Its a classic director error on small sets they go for the big 'oner'. The shot in wide only. The long improv. All luxuries that Wes Anderson has and we might not.'
I was not just going for the big 'oner' of course I did traditional coverage, OTS, MS, CU. The WS however was not wide enough where the audience would not be able to see the actors lips. Anyway - I have loads of other 'classic director errors' I can share if ya want.
 
Run&Gun said:
Schoeps actually makes a chroma green version of the “Schoeps Blue”(CMIT 5) for keying work. If I was going to buy a “Blue”, I’d actually order the green version, because 1) I’ve never seen anyone with one in the wild and 2) I love green.
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I've used a green CMIT + foam windshield once; it was a rental and IIRC (it was a while ago) the rental price was standard. Say $30/day or so... So if you want to go that route, you don't have to buy such a mic (though the CMITs are great).... Gotham, Trew, and other such places should have those for rent...

As may have already been discussed in this thread, the boom (and lightstand, etc) removal trick was popularized by House of Cards (at least, that's where I heard about it outside of features and commercials). In HoC, they used it (IIRC, and I may not) for those wide shots where characters are talking a lot and moving not so much. Gave them that nice boom-mic sound rather than lav sound. Here's a 2015 article by the mixer that talks about what they did: House of Cards and Digital Boom Removal

And here is a before/after picture from that article:

7-3-hoc-1.jpg

Finally, here's a REALLY BASIC seven-minute video by a good mixer (ie- not a vfx artist). We do this sort of thing on corporate jobs a lot (and by "we" I mean the post team).

 
'My classic director error is thinking anyone wants to see anything I direct.'
Well there's always that. I think of Fellini calling his films, "the germs of my disease."
But I also think of Terrence Davies - one of my fav filmmakers saying of his films "I find them wanting, but I'm awfully proud of them." He said this with such feeling. Whenever I think of something I'm going to direct - I always think of what he said and hope someday I might feel the same.
 
lambert said:
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.
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Unless the scene is soooooo wide you can't even see their lips moving, then you need a skilled person (+ time & care) during audio post (with expensive tools, such as Sound Radix's Auto Align: https://www.soundradix.com/products/auto-align-post/) to pull this off effectively.
 
Jim Feeley said:
As may have already been discussed in this thread, the boom (and lightstand, etc) removal trick was popularized by House of Cards (at least, that's where I heard about it outside of features and commercials). In HoC, they used it (IIRC, and I may not) for those wide shots where characters are talking a lot and moving not so much. Gave them that nice boom-mic sound rather than lav sound. Here's a 2015 article by the mixer that talks about what they did: House of Cards and Digital Boom Removal
Click to expand...

House of Cards was just the most high profile example at that point in time who was doing this, which is why they get talked about the most.

Eventually this should become common place with everyone doing it everywhere.

Jim Feeley said:
Finally, here's a REALLY BASIC seven-minute video by a good mixer (ie- not a vfx artist). We do this sort of thing on corporate jobs a lot (and by "we" I mean the post team).
Click to expand...

Not just a good sound mixer, but a drunk one too! ;-) Truly proving once and for all that ANYONE can do it!
(although, he made a very small mistake which I pointed out in the YT comments)
 
lambert said:
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.
Click to expand...

I like the dubbed look and sound sometimes. QT uses it in a nostalgic genre sort of way. Overseas, everything was dubbed anyway.
 
Filming with sound at same time is to complicated for me. I’ve decided since I have a jar of peanut butter, ridiculously darling tiny costumes , and incredibly low artistic standards to make a talking mule animal circus Buddy road picture. I suggest rewriting all projects to eliminate all actors who are not vaccinated against parvo.
 
Related to this topic, another mixer just reminded me of Greensleeve, digigreen and digiblue sleeves for boom poles. Developed by A-List Oscar-winning mixer Simon Hayes in conjunction with some VFX people. If you're working in front of a greenscreen (and you already have a green Schoeps :smile:), these could be useful:

Greensleeve
"Born out of a collaboration between the Sound and Visual FX departments on feature films, the Greensleeve allows boom poles to cross behind real foreground elements in greenscreen and bluescreen environments."

greensleeve.jpg
 
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