- 1. First time here for a veteran boomer.
- (Welcome Mat)
- Ok, so now I know where to find eager young aspiring sound folks. I've been doing sound for 30 years and as a boom operator for 17 of those years. The photo is a boom stand I made from a tool box I got ...
- Created on August 23, 2012
- 2. For week ending April 2, 2021
- (CSUN - CTVA 358)
- ... from "attenuated dual mono"? 8. What is the best reason to use a mixing panel, even if you are only going to use one microphone? a) so that the boom operator can hear b) in order to equalize ...
- Created on March 29, 2021
- 3. For week ending Dec 11, 2020
- (CSUN - CTVA 358)
- ... boom mic, in this case an AT4073a. The third is seated by himself in a rocking chair, and does not get up. How should you mic the third actor, so that his sound matches acceptably with that coming from ...
- Created on December 04, 2020
- 4. For week ending May 14, 2021
- (CSUN - CTVA 358)
- ... to 120o 4) You are mixing an interior scene on a soundstage with three actors. Two of them are being picked up with the boom mic, in this case an AT4073a. The third is seated by himself in a rocking chair, ...
- Created on May 10, 2021
- 5. For week ending Oct 30, 2020
- (CSUN - CTVA 358)
- ... going to use one microphone? a) so that the boom operator can hear b) in order to equalize from shot to shot c) so that you can pre-slate d) for smooth control over the input signal 9) You are using ...
- Created on October 26, 2020
- 6. For week ending Sept 20, 2019
- (CSUN - CTVA 358)
- ... & talk" boomed dialogue. Later, we will up the ante and add a hidden planted mic. Remember to bring your professional headphones for the shoot. Don't forget the 1/4-inch stereo tip that came with ...
- Created on September 14, 2019
- 7. For week ending Sept 27,2019
- (CSUN - CTVA 358)
- ... & talk" boomed dialogue. Later, we will up the ante and add a hidden planted mic. Remember to bring your professional headphones for the shoot. Don't forget the 1/4-inch stereo tip that came with ...
- Created on September 21, 2019
- 8. Tape the tip of your boom mic
- (Tips & Tricks)
- Just because the camera operator doesn't complain about seeing the boom mic in the viewfinder does not necessarily mean that the mic will not appear later on when the scene is viewed on a full sized monitor ...
- Created on September 06, 2011
- 9. What is the best way to break into the i
- (General Questions)
- ... journal or planning committees? Networking at meetings? Trying to work in sales/rentals? Also, stop working for CHEAP. Demand a decent salary, a good boom operator, and a good equipment package. "Take ...
- Created on September 05, 2013
- 10. Wireless Booms?
- (General Questions)
- Hi Prof. Ginsburg As I've noticed in the professional field, a lot of sound mixers have switch from hard-wired boom to the wireless boom set up, so that the boom operator can move around and between people ...
- Created on October 03, 2011
- 11. Duplex Boom Cables
- (Cables & Connections)
- You wouldn't think about using a camera without any type of viewfinder, so why would you want to boom a shot without headphones? The boom operator must be able to monitor not only the audio that his/her ...
- Created on April 06, 2012
- 12. E-Z Boom used on CSUN Film Shoot
- (Boompoles)
- Holding a long boompole fully extended for a long period of time requires a lot of strength and endurance. Although it may not be a problem for the experienced and well conditioned Hollywood professional, ...
- Created on August 25, 2011
- 13. Using a Microphone Boompole
- (Boompoles)
- Camera-mounted mics may be adequate for general ambiance and background effects, but they lack the reach and versatility of boom mounted mics. Placing the microphone where the lens is may be convenient ...
- Created on August 25, 2011
- 14. Equipment Advice: Selecting Boompoles & Shotgun Mics
- (Boompoles)
- Why use a boom? Because of all of the techniques available to us, the simple boompole with shotgun mic allows us to get the most professional audio with the least amount of fuss. Let's briefly look at ...
- Created on August 15, 2011
- 15. Book: Behind the Sound Cart
- (Industry Happenings)
- ... of life on a production. Patrushkha Mierzwa, one of the first female boom operators in Hollywood, has worked on over 80 movies and television projects for major directors including Robert Rodriquez, Quentin ...
- Created on February 23, 2021
- 16. We don’t do this as a hobby!
- (For Students)
- ... rate. Figure a state-of-the-art multi-track timecode recorder, companion mixing board (fader controller), four to eight premium quality radio mics, a few condenser shotgun mics, boompoles, cables, and ...
- Created on January 28, 2021
- 17. Room Tone vs Background tracks
- (Sound Design)
- ... take. The room tone should be recorded with the same dominant microphone (usually the boom, but sometimes the key talent’s lavalier), at the same pickup angle, same height, and roughly the same location ...
- Created on May 27, 2020
- 18. Do you really need a mixing panel?
- (Mix Panels)
- ... other out – what we call phasing interference. You would hear it in the headphones as echo & hollowness. So if you have mics working in close proximity to each other, such as a boom and a lav on the same ...
- Created on June 25, 2019
- 19. Basic sound package for student productions
- (Production Planning)
- ... boom. On fancier shoots, some sort of wireless assistive listening system, such as Comteks, to send headphone feeds to Director, Script, 2nd Boom, and possibly other people on the set. Make sure you have ...
- Created on March 22, 2019
- 20. Hourly Rates vs 10, 12 hour days
- (Production Planning)
- ... (sound rentals, sales, crew) and then its successor Wilcox Sound. In those days, Troy was a Utility Sound Technician and Boom Operator, working episodic TV and commercials. This is a break down on hourly ...
- Created on March 22, 2019
- 21. Calling for the roll aka “Turn ‘Em Over” (text)
- (Audio Techniques)
- ... mic, such as the boom or the actor’s lav, is ready to record the clack of the sticks closing. ASST DIRECTOR: to sound mixer “Roll Sound!” Sound Mixer switches the recorder from STANDBY/PAUSE into ...
- Created on March 18, 2018
- 22. Chapman & CSUN in top 40 best film schools
- (Fred's Blog )
- ... it interesting that the main photo illustration that Variety ran with the article depicts a student boom operator using a shotgun mic without a foam windscreen, and not wearing headphones. At CSUN and ...
- Created on April 30, 2015
- 23. Setting Up Your Rycote Windshield
- (Windscreens & Shockmounts)
- ... the best audio response. The more layers that you add, the more that some frequencies get affected. But Murphy always seems to visit my sound crew, and the god of wind follows my boom operator around ...
- Created on March 22, 2015
- 24. Advice for new Sound Mixers
- (Fred's Blog )
- ... scene if I had any advice for someone just starting out in this competitive market. My first suggestion is to always go out with a boom operator. Working solo means that you will function only as a ...
- Created on March 09, 2015
- 25. Basic Equipment Package
- (Production Planning)
- ... 85 ohms. Favorites include Sony MDR7506 and Audio Technica ATH-M50/M50x, ATH-M40x, ATH-M35, ATH-M30x. For booming, I like the K-Tek poles very much. You need at least one good pole, not less than 12 ...
- Created on February 02, 2015
- 26. Soundcarts
- (Other Accessories)
- ... the edge of the set and close to the “action”. As a mixer, I need to see the relationship of actors and microphones (booms, plants). I find it important to note body language, as that will foreshadow the ...
- Created on March 01, 2012
- 27. Student Projects
- (Fred's Blog )
- ... also to mic the talent/guest, and to cover sound effects! Most of you only used two mics instead of three, and hoped to capture the sound effects and talent from one boom. Most of the video's showed absolutely ...
- Created on December 15, 2011
- 28. User Guide to the Tascam HS-P82 for Film/Video Applications
- (Recorders)
- ... You can assign a name to any track for your convenience. For example, you could rename Track 1 as “Boom” Channel Link is for linking a stereo microphone so that one set of controls spans over two input ...
- Created on November 29, 2011
- 29. CSUN Films FBI psa'
- (Fred's Blog )
- ... scene in the sound stage. The set was supposed to depict an (Eastern European) "sweat shop". Here is how it went from the audio standpoint. Our Mixer (Leandra Dichirico), Boom (Min Hu), and Utility (Katie ...
- Created on November 01, 2011
- 30. Filmming in a Park
- (Production Advice)
- ... my suggestions about renting benches and using a second location or not. Let's look at how we will deal with the audio. The sound mixer likes the use of a long shotgun microphone, boomed from overhead. ...
- Created on September 20, 2011
- 31. Filmming in a Park
- (For Students)
- ... my suggestions about renting benches and using a second location or not. Let's look at how we will deal with the audio. The sound mixer likes the use of a long shotgun microphone, boomed from overhead. ...
- Created on September 20, 2011
- 32. Introduction to Production Sound
- (Production Planning)
- ... that.) What Sound Mixers do have to master, in addition to their own craft, is an understanding of the crafts and techniques adjacent to theirs. One cannot choreograph booms and fishpoles without understanding ...
- Created on August 29, 2011
- 33. Guide for Creating a Professional Résumé
- (Networking)
- ... nature of the project (35mm feature film, commercial, corporate, pilot, movie-of-the-week, etc.) Indicate the capacity in which you worked (Sound Mixer, Boom Operator, 2nd Assistant Camera, etc.) Most ...
- Created on August 29, 2011
- 34. The Airport
- (Sample Exercises)
- A simple, interior scene in which students will be introduced to booming a basic walk & talk. Then, the exercise will escalate to include at least one plant mic in a foreground/background composition. ...
- Created on August 28, 2011
- 35. Priorities of Recording
- (Sound Design)
- ... common mistake for novice mixers is to record close-ups louder than medium and long shots. This happens a lot because when close-ups are boomed from above, the microphone is ideally placed relatively close ...
- Created on August 27, 2011
- 36. What Your Crew Expects of You
- (Production Planning)
- ... for the rest of the crew members--camera assistant, boom man, gaffer and grip - they only exist after forceful negotiation by the cameraman and re-submission/approval of the original budget. Somehow, companies ...
- Created on August 26, 2011
- 37. Consistency in Sound Recording
- (Sound Design)
- ... boom operator should hold the mic closer overhead to the Nerd with the front of the mic aimed more towards the Nerd, and allow the Tough Guy to strike the mic from more of a side angle and from a little ...
- Created on August 26, 2011
- 38. Monitoring the Soundtrack
- (Audio Techniques)
- ... the sound is fine. Use headphones; and playback some takes before you move on to the next major setup. There are some very simple remedies. To begin with, the soundmixer, boom operator, and camera operator ...
- Created on August 26, 2011
- 39. Audio for Mini Input
- (Cables & Connections)
- ... longer than what it takes to reach the camera mounted shotgun mic or just the wrist strap (if you are using audio from a mixer or boompole). Make sure that the XLR input of the adapter cable is secure, ...
- Created on August 26, 2011
- 40. Audio Stage Boxes & Snakes for Production
- (Cables & Connections)
- ... or monitor outputs. An example of a snake cable from Hosa Even a boom operator could plug their "duplex line" into the stage box to send audio from their shotgun mic and receive a headphone signal. ...
- Created on August 26, 2011
- 41. Deal Memos
- (Production Planning)
- ... If the producer refuses his/her real name or address, be wary! The memo should have your name on it, of course. It should detail your job function on the set, such as Production Sound Mixer, Boom Operator, ...
- Created on August 23, 2011
- 42. Beginners Guide to the ENG 44 Portable Mixer
- (Mix Panels)
- ... the recorder is OFF, you can also speak instructions to the boom operator. VU Meter The "VU" meter on the ENG44 mixer is technically a peak reading meter and indicates the output level of the audio. ...
- Created on August 23, 2011
- 43. ENG Mixing Panels for Production Sound
- (Mix Panels)
- ... assigns, and smooth faders. Outputs include main outs to the recorder, headphones for the soundperson, outputs for Director/Script, and a way to send audio to the boom operator. Whether you are using ...
- Created on August 23, 2011
- 44. Two-Track Mixing for Location Dialogue
- (Sound Design)
- ... group and what elements should be kept separate? If you are mixing most of the scene with a boom mic, and also have a plant mic or lavalier working -- then it might make sense to separate the mics that ...
- Created on August 23, 2011
- 45. Using a Mixing Panel for Location Dialogue
- (Mix Panels)
- ... or a solo audio person who might be doubling as the boom holder (my elitism prevents me from using the term boom operator when that person is belabored with so many audio tasks as is the case when he/she ...
- Created on August 22, 2011
- 46. [VIDEO] Mic Basics Series
- (General)
- ... Then we swtich to an Audio Technica AT897 short shotgun, mounted ENG style atop the camera. Finally, we move to the same AT897 microphone, but on a boompole above Fred’s head. [video missing] View ...
- Created on August 21, 2011
- 47. Chapter 2: The Crew
- (Series - Preparing for Your Shoot)
- ... someone who has devoted all of their attention ON THIS PRODUCTION to the pursuit of good production sound! A meticulous sound mixer or boom operator does not have the time, concentration, nor the endless ...
- Created on August 21, 2011
- 48. Class Projects
- (Chapman)
- ... disk. Make sure that the file names, as read on the disk, match what is on the log. Each log entry should show: filename, scene/take number, description, names of mixer/boom, and general comments. All ...
- Created on August 19, 2011
- 49. Class Projects
- (CTVA 358)
- ... three) students will assume the role of either Production Sound Mixer or Boom Person and mix at least two minutes of cinematic dialogue between two or more different actors. There should be actor movement ...
- Created on August 19, 2011
- 50. Production Sound Class Projects
- (Sample Projects)
- ... three) students will assume the role of either Production Sound Mixer or Boom Person and mix at least two minutes of cinematic dialogue between two or more different actors. There should be actor movement ...
- Created on August 19, 2011
- 51. Chapter 4: Personnel of a Professional Sound Crew
- (Series - Preparing for Your Shoot)
- The basic production sound crew consists of the Mixer, the Boom Operator, and the Utility Sound Technician. The Mixer is the head of the Production Sound Department (usually just called the Sound Dept.) ...
- Created on August 19, 2011
- 52. Introduction to Wireless Microphones
- (Wireless)
- ... is replacing. Virtually ANY mic, including boompole mounted shotguns, can be used with a wireless system providing that you have the appropriate adapter cable or connector. Another concept that is important ...
- Created on August 19, 2011
- 53. Selection and Use of Shotgun Microphones
- (Shotgun)
- ... shot. This "Hierarchy of Microphone Techniques" consists of the following: Overhead boom Boom from underneath Boom mics as plant mics Lavalier mics as plant mics Lavalier mics as body mics Lavalier ...
- Created on August 18, 2011
- 54. Hierarchy of Microphone Techniques
- (Audio Techniques)
- ... serves as your starting game plan in approaching a scene in terms of microphone selection and utilization. Here is a summary of the Hierarchy: Overhead boom. Boom from underneath. Boom mics as ...
- Created on August 17, 2011
- 55. Chapter 7: Defining Equipment Packages
- (Series - Preparing for Your Shoot)
- ... mics. A short boompole with a condenser shotgun mic (short or long shotgun). A two or four track digital recorder, with timecode. And a nifty chest harness to carry it all in. Maybe even another wireless ...
- Created on August 16, 2011
- 56. Chapter 9: Making a Budget
- (Series - Preparing for Your Shoot)
- ... The Mixer works for $400 per 10 hour day. Time and one-half for every hour beyond ten. The Boom Operator (“Yes, I have someone in particular who works with me”) gets $275 for 10. Since this is low-budget, ...
- Created on August 13, 2011