Would this work?

[mainstreetprod]

Ok, it's a strange idea but I will throw it out there anyway. Has anyone ever
used a jib to replace a boom pole? I have a 10' camcrane (by Glidecam) that will only be used in a couple of shots when I film a short in January. I was thinking of rigging my boom mics at the end of the crane with appropriate counterbalance weight to make it easy on the operator. There will be few scenes that will require quick movement of the boom. Seems like a less experienced operator could handle it this way and for a longer time without getting tired.


While I'm at it, how practical is it to have two mics (probably Oktavas) on the same boom, facing different directions as needed?


And finally, lately on TV I've noticed many behind the scenes shots that show the boom mic. Often it appears to be 3 feet or so above the actors. Why is the common advice here to keep it at 18" (which seems impossible in a wide shot). Are the mics I am seeing a lot better and more sensitvie?

 

[SMuir]

30' perambulators are pretty common on studio television productions. However, they're a rather expensive piece of equipment, and require skilled opperators. Unless you're shooting a three-camera show with a large stage and a studio audience, you're probably better off with a boompole.

Theoretically, you could modify a jib to opperate as a perambulator, but you'll be faced with a number of problems. For one thing, you'll need to rapidly reposition the mic as you shoot. Most perambulators are able to turn, rotate and tilt the mic, and telescope the boom in and out. Your crane will have to perform those tasks quickly, accurately, and silently.

Seems like a less experienced operator could handle it this way and for a longer time without getting tired.

Your equipment will only ever be as good as the person operating it, and perambulator opperation is a highly specialized discipline. If you're boom operator is particularly inexperienced, they're unlikely to fare very well with an improvised `pram. Sure, your boom op' may smell a little fresher at the end of the day, but they'll probably be struggling to get the mic anywhere near the optimum position.

While I'm at it, how practical is it to have two mics (probably Oktavas) on the same boom, facing different directions as needed?

Possible: yes. Practical: probably not. Unless you can contrive a method of independantly cueing the mics, the boom op is unlikely to be able to keep more than one mic propperly positioned (rather like attaching two cameras to a single tripod head). Two mics on a single boom will also become unnecessarily heavy. You would get better results by using a second boom, operated by the utility sound person when needed.

And finally, lately on TV I've noticed many behind the scenes shots that show the boom mic. Often it appears to be 3 feet or so above the actors. Why is the common advice here to keep it at 18" (which seems impossible in a wide shot). Are the mics I am seeing a lot better and more sensitvie?

Was this an interior or an exterior? A quiet exterior can be adequately boomed from a longer distance, since you won't be dealing with room accoustics. The other consideration is whether or not the production sound was used in the final mix, or if it was replaced with ADR and wild takes. The mixer may have also been relying on Wireless Lav's for the dialogue, using the boom to give a little more space and to cover production foley.

 

[wabbit]

What you seem to be describing is similar to what a Fisher boom used in TV productions. The "trick" is the boom comes in at a horizontal angle not diagonal. A diagonal boom arm will put the mic several feet above the actors head. If you can get the base up high enough (5 to 6 feet) then the idea might work but while the swing can be quick, moving the jib forward and backward will be tricky, slower, and most likely noisy. A Fisher boom allows quick and easy movement on all 5 axis (3 for boom, 2 for mic) and what you are describing would be easy to move on 2, difficult on 1, and impossible on 2.

A proper Fisher boom operator is VERY well compensated as it is difficult to operate a device like this.

You will see the boom several feet above their heads for many reasons; no dialog, getting a guide track, or it's a complicated shot with actors on wireless and boom as a guide track backup to wireless. Lastly you might be seeing a long shotgun (ie MKH816) which under specific circumstances can work well at longer distances.

There is no exact constant ideal for mic distance like 18" in film production. The advice is to get the mic at the frame line and not an inch further (although too close and you get the proximity efffect with most shotgun mics). For medium to CU shots the frame line tends to be around 18" or less from the speaker's mouth. This is where this advice probably has come from. As the shot widens, the distance is pushed back, giving your audio "perspective" with the shot. At a certain point a line is crossed when the shot is too wide to get a good boom in, even with a long gun.

Cheers

 

[mainstreetprod]

As I mentioned, none of the scenes will require quick movement (in that case I would use a boompole). I would primarily try this in scenes where the shot needs to be wide, and the subjects are somewhat stationary, conversing with each other.

RE: the distance, most shots will be interior. I do have 3 lavs, similar to G2's,
that could be used in a pinch.

 

[wabbit]

Well, there certainly is no reason to not give it a try. Propping the boom pole on a C stand with a Boom Buddy might accomplish the same effect. Let us know how it goes.

Good luck