Should my sound mixer also may be the Boom pole operator?

Boom op and sound mixer I would still go with the equipment combo above if you can get someone who has that... or anything above 702 but that starts getting nuts, but then you can have a full mixer and lavs - but again I hate lavs.... Like uncle Bob said most sound mixers will have their fav stuff and people. See if you can see a movie they have done and play it on some nice monitors.
 
gear does not make the location mixer

gear does not make the location mixer

Seems your book is a bit restrictive. I mean, there are tons of guys out there with SD 442s, PSC Alphamix (me), Wendts, Fostex FM-4s carrying kits which may or may not include the 416 or the CS-3, or Scheops. Granted, professionals will carry professional gear but to start listing makes and models and say if they aren't carrying that gear it's a no-go is to disregard all the sound people out there doing GREAT work without those particular items. I'm willing to bet that there are as many major motion pictures made without those particular microphones as with those microphones. Don't get me wrong, they are GREAT microphones, but like you said, without someone skilled swinging and adjusting levels, the result is still crap. Both the 416 and CS-3 have far too broad a pattern for some outdoors scenes where directivity is everything. And I've heard some very acceptable results come from people with modest kits and great skills. Stellar, no. But I've heard just as much crap from a monkey swinging a 416.

Good gear + good skills = good results. Carrying $1500 dollar mics and $2000 mixers does not mean that person should be the one selected for the job.

Your best bet is to talk to directors and editors. These people will know who is and isn't worth hiring.

Blackout said:
** cough **

http://www.dvxuser.com/V6/showthread.php?229971-The-film-sound-manifesto


Yes, you can hire one guy to be a sound mixer / boom op but you better pay him well and make sure you get a skilled guy with high end gear.... a sin 416 or sanken cs-3e or scheops or no go in my book... and a Sound Devices 702.

But.. most likely if you go cheap you'll get a dude with a $300 Rode mic and $300 Zoom h4n. It can still work but it won't sound stellar....
Sound is a workhorse job and should be budgeted first in my book, not last. I hate lavs and vote against them against a good boom op every time...
Click to expand...
 
gpforet said:
Seems your book is a bit restrictive. I mean, there are tons of guys out there with SD 442s, PSC Alphamix (me), Wendts, Fostex FM-4s carrying kits which may or may not include the 416 or the CS-3, or Scheops. Granted, professionals will carry professional gear but to start listing makes and models and say if they aren't carrying that gear it's a no-go is to disregard all the sound people out there doing GREAT work without those particular items. I'm willing to bet that there are as many major motion pictures made without those particular microphones as with those microphones. Don't get me wrong, they are GREAT microphones, but like you said, without someone skilled swinging and adjusting levels, the result is still crap. Both the 416 and CS-3 have far too broad a pattern for some outdoors scenes where directivity is everything. And I've heard some very acceptable results come from people with modest kits and great skills. Stellar, no. But I've heard just as much crap from a monkey swinging a 416.

Good gear + good skills = good results. Carrying $1500 dollar mics and $2000 mixers does not mean that person should be the one selected for the job.

Your best bet is to talk to directors and editors. These people will know who is and isn't worth hiring.
Click to expand...

Agreed... it's just my personal fav... mileage will vary with others... to me, the middle ground is kaka.. go cheap or go high end...
 
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