Boom operators: What equipment do you use at both tips of your fishpoles?

[alexstringer]

Name your best choices of mics, headphones and portable recorder for your location recording.
Would it be best to invest in a HD recording device to qualify for most job offers? What's the industry standard picked for a recorder?
As technologies moves fast, is digital recording the way to go nowadays?
Would i need different kind of gear if i work on a documentary, feature film or TV set?

[Karl_Lohninger]

It's not the equipment that qualifies you. If production hire you because of what recorder you just bought then they earn you;-) Start by helping out ot shots, start by connecting to folks at film schools, start by doing (lots) of unpaid jobs, hang out in the right circles and move from there......

best, Karl Lohninger
Los Angeles
audio etc.

[alexstringer]

I know that, but that's not what i asked, i posted a naive question hoping a constructive answer so someone like me and any other person on this forum who wants to learn and understand can figure out what are the industry technical requirements those days... I'm expecting an answer about the means, not the methods.
Also, by the way, i see you registered not too long ago, let me give you a wise guy advice: If you want to make friends here, you shouldn't approach your answers to thread using a snobish old man kind of tone...you'll get bitten faster than you're hoping for...

[Karl_Lohninger]

While my answer might be something you don't want to hear - your question is just the wrong one. Start by visiting an actual film, tv, documentary shoot etc. and watch. It doesn't matter if you're recording on a Cantar, a Deva, a 744 or a Nagra IVS. You're putting the cart in front of the horse with idle equipment talk. Why don't you just go out there and try to get a job as a boom operator - just one day will help you to come to the point. You can use whatever mic you want - if you're throwing a shadow or don't cue it right or kill audio with handling noise it doesn't matter. Nobody will ask you what equipment you have - everybody will expect you to deliver excellent sound! Check your local film commission or permit department and try to chat with the sound mixer - offer to wrangle cables or whatever....

good luck,

Karl, the wise guy;-)

[Ibvee]

Originally Posted by alexstringer

Also, by the way, i see you registered not too long ago, let me give you a wise guy advice: If you want to make friends here, you shouldn't approach your answers to thread using a snobish old man kind of tone...you'll get bitten faster than you're hoping for...

Don't want to be an ass, but my experience is that the exact thing you said here, happens when you speak like this to experienced industry professionals who actually know what they're doing, and who's advice is worth something, in oposite to those who pretend...

Even though he just subscribed, beware, he might be the next michael wagener, thrillfactor, bruce swedien, or maybe he's allready far beyond...

Edit: Do you allready have such an IMDB list?
http://www.imdb.com/name/nm0517905/

[Matti]

Karl is a well known production sound mixer, so well known that even I
as an european know of him ;-)
Matti

edit. I might be using the terminology "production mixer", "sound mixer", "broadcast mixer" quite freely.
Cheers!

[Jim vanBergen]

Dude. Do you realize you may have blown a chance to do a set visit, maybe intern, or even get mentoring advice with Karl, a serious known quantity in film production in LA?

He's a name that pops up often with the NYC crowd... that I am really on the outskirts of, as a broadcast mixer -NOT a film production sound guy (for 14 years anyway)

He was the ONE seriously known guy who answered your question in a way that would actually get you work and teach you the ropes, as opposed to my answer, which would have been a gearslut shopping list (but we have FAR too many of these, and they are pretty meaningless.)

I make these mistakes myself, -AND FAR WORSE!- but if you re-read your original post, you are requesting several paragraphs of investment to touch the tip of the iceberg. That's a lot to ask from people who know you, let alone those who don't.

Peace

[alexstringer]

Oops!
I didn't mean to to sound like a prick, Karl! For some reason, i thought most of the big guys add been G.S members for a while and let's say that i would have appreciated far more your second answer on this thread if you had develloped it on your 1st answer which sounded too much like a punch line in the tone frequently used by some fellow members of gear slutz who've be spending too much time on this forum and which pride and knowledge translate into unpatience and lack of pedagogy...
I guess i have to control the New York pit bull in me....
Welcome !

[alexstringer]

Originally Posted by Jim vanBergen

Dude. Do you realize you may have blown a chance to do a set visit, maybe intern, or even get mentoring advice with Karl, a serious known quantity in film production in LA?

He's a name that pops up often with the NYC crowd... that I am really on the outskirts of, as a broadcast mixer -NOT a film production sound guy (for 14 years anyway)

He was the ONE seriously known guy who answered your question in a way that would actually get you work and teach you the ropes, as opposed to my answer, which would have been a gearslut shopping list (but we have FAR too many of these, and they are pretty meaningless.)

I make these mistakes myself, -AND FAR WORSE!- but if you re-read your original post, you are requesting several paragraphs of investment to touch the tip of the iceberg. That's a lot to ask from people who know you, let alone those who don't.

Peace

Jim, No need to make me feel worse than i do...
Now regarding questions about equipment, i don't see what's so secretive about it, i think this is actually the best forum to ask such thing.
I can understand that some freshman in the industry who lack of self confidence refuses to share his bag of tips and tricks on how to use the gear when he's working on a set but that's another thread to discuss...

[Remoteness]

Alex,

I believe Karl Lohninger‘s replies were valid. You should be honored that such a qualified individual found the time to answer your questions.

Karl was right when he said, “It's not the equipment that qualifies you…” I absolutely agree with that statement. I’ve always felt it’s about your “ear” and not the gear.

Now, with that said, I wasn’t sure where you were coming from when I read your opening post. I didn't know if you wanted to start a philosophical discussion on what kind of gear people use on set or if it was a more realistic attitude towards the equipment used by these individuals?

IMHO, it’s all about perception. Everyone has their own slant on things.
Look, I’ve run this forum with the opinion that there are no wrong questions just wrong answers. Take it with a grain of salt. The people on this forum truly want to help.

Maybe you’re expecting too much. We can only do the best we can with regard to answering questions on this board. And, why should it matter if someone joined yesterday or five years ago? All valid and compelling replies should be heard and shown consideration for.

I didn’t hear any “wise guy” advice or snobbish old man tone from anyone. “Insert the perception concept” I mentioned earlier here. With that said, I got the impression you were a bit off base I'm afraid.

Can’t you see how dignified Karl’s replies were? He’s trying to help you and anyone else reading this thread. Now, what about Karl? He’s all class and the kind of person I want around these parts. Please do not scare him and others like him away from us.

Whether he’s an experienced industry professional or just got started why should you tell him how he should answer your questions? If necessary, isn’t that my job around here?

Alex, why not treat everyone with equal respect? You didn't mean to sound like a prick, because you thought most of the “big guys” have been GS members for a while? IMO, that’s not a good way of looking at it – We all have value my GS friend. You, I, the new folks and seasoned professionals around here have usefulness. All of us merit respect whether or not our answers are applicable to the questions.

Do you think we’re being secretive? We’re just trying to voice our opinions, but you turned it into a lack of self confidence and in turn refused to share our “bag of tips and tricks.” Man, you are so out of line on this one. This forum has done a lot more good than not for many folks. Free information is available 24/7 around here and on the other forums. Many of us (all levels of the food chain) have given plenty of secrets, important insight and knowledge about our craft. You are always welcomed you share your observations and enlightenment on our profession. We’re all ears my man!

[Audio Dave]

One big positive of this is that the feedback has highlighted the value of Karl's advice...which I shall be following. Thank you!

[Graham Tobias]

I've tried boom work a couple times. I'm far from good at it..... my advice from my little experience- don't worry about gear, worry about your skills and your body. It's really easy to sit in your executive chair infront of your ssl with your coffee and $20,000 speakers... from what I learned you have to be very aware of your body, very aware of all the cables around you and you have to have a lot of stamina. You have to be ready for tons of situations that may make your job hard... like what if your headphones fall off? Now tell me how would you go about putting them back on without making handling noise or doing something else to f up the sound. What are you gonna do when you're tired? put the boom on your shoulders? go underhand? before you even have to worry about gear worry about capturing sound. Again I have little experience with booms but I learned very quickly that you have to be able to react to any situation without compromising your job and I can see that it takes years of experience to master. I have a good friend who's a surgeon and it's similar (well a little less room for error)... he's gotta be prepared for anything and he's got tips and tricks that he picks up over time... like even silly things are hugely important. The shoes on your feet can make all the difference in the world. He was telling me how he only wears this one kind of clogs in the OR. Otherwise he gets back pain and his feet hurt after awhile. Avoiding the back pain and fatigue could save someone's life. Anyways back into the audio world... just practice and you'll get better.

[tsvisser]

Because this is Gearslutz and I feel it is valid to talk about gear outside of the context of all those other things such as practical work experience, technique, etc... as important as they are, one is not going to learn these things on an internet forum, but one could get a good handle on where to start looking for equipment.

Shotguns: you pretty much have to have one eventually. I'm not a big fan of shotguns, or I feel that they are over used when there are better choices... if you could only have 1 mic, a shotgun is probably a good place to start. get something cheap and used, but something you don't have to upgrade later. Might as well get an MKH 416, everyone and their brother has one, so just do it. Rycote zeppelin is pretty much mandatory. Some guns do an amazing job of not sounding too much like a shotgun, but I'd probably focus on getting a workhorse before considering laying out the cash for something Gucci.

2nd mic: should be a compact hypercardioid, good for interiors and tight spaces. I love the MKH 8050, which is a compact evolution of the MKH 50. Rycote softie + fur at a minimum, even full zeppelin would be nice for certain situations.

Boom poles: I have a short and long carbon fibre boom pole. Personal choice, I like Ambient. I also like internally cabled poles, the convenience outweighs the risk of cable noise in certain situations... not a problem for me, just have to be aware of it and compensate accordingly. Am I the only one that get offended when they are called "fishpoles"?

Mixer / Recorder: traditionally, in film, a boom op wouldn't need to worry about a mixer or recorder as they would be working with a cart based mixer already. For ENG or the more modern run and gun, the lines of distinction between boom op and overworked mixer without assistance is getting blurred. In the past, the Sound Devices 302 was my default hearty recommendation for a first mixer. Sound Devices has also just released and soon to ship the 552, which is quite interesting, as a 5 channel mixer + recording capabilities to SD/SDHC cards. It is cheap and lacks a timecode clock, but can stamp files from an external timecode generator or camera. Even if you had a SD788t, NagraVI, Deva, Cantar, etc... the 552 would make a great backup recorder and in many instances you want to / need to put a mixer in front of your recorder anyways.

Headphones: I like the Sennheiser HD 25-1 (I actually use the boomset version). Light, small, can flip the right ear up for situational awareness (just pulling off the earcup of a regular headphone increases chance of it falling off your head, especially when looking up at your boom mic). The split head piece is also nice as it gives the boom pole a nice little spot to rest on top of your head if you need to suddenly free up your left hand to do something, like turn off your cell phone that you forgot to turn off prior in a professional manner, turn on an IFB that you forgot to switch on, plug in the XLR cable that is dangling from a D-ring off of your belt instead of plugged into your boom, flip your right earpad up as you try to understand what the mixer is mouthing to you because your IFB is off and your microphone is pointed in the wrong direction... up towards the sky. Everyone makes mistakes, but if you cell phone rings right as you finally understand the mixer as he tries to tell you to turn you mic around, plug it in, and turn on your IFB, your probably fired.

Unless you have a job lined up, can be someone's apprentice or assistant, I wouldn't purchase this gear outright and hope for the work to come. I would rent the equipment as I get work until you know that you can get a decent ROI.

People without high post counts or those who haven't been members too long, just means that they haven't been wasting their time on internet forums too much recently. Could be new... or could just be gainfully employed.

[bradley]

I just did my first few days of sound recording on the set of a low budget feature length period drama being filmed in the south east of England.

I got called in last minute as their regular guy had gone sick.

They had been using some old Fostex recorder that wasn't working properly and a Zoom H4n with a Sennheiser shotgun mic and some clip ons!

I showed up with my Focusrite Liquid 56, laptop and a stereo pair and manged to multi track the boom audio and stereo pair for most of the three days. Only needed to use the Zoom for one outdoor scene.

Not the standard location gear but it seemed to do the job and no one complained! I was lucky enough to always have someone to boom for me so I could concentrated on the recording and logging of all the audio.

Was a great first experience on a fairly serious film set!

[gertvl]

Hi,

I am a student in the 1st master year of new product engineering. Currently I am searching for a problem to solve and design (industrial design) the solution so I'll get my master degree next year. Therefore next year I'll be working on a solution. I encountered the problem that sound technicians have when they are operating their boom with micro on it. Especially when when a heavy micro is mounted, for more directional sound and a long boom. Some systems exist to help reduce the weight on the arms of the operator, but very few people use it:

examples:
Kit Cool
http://dl.dropbox.com/u/454025/US2008304687A1.pdf

Reasons are that the system doesn't support the work flow of the operator and that the height is commonly fixed. Or the systems use a bended boom that is very hard to get used to. I had the idea of "translating" the spring system of a steadicam and adjusting it to a system suitable for boom operators. So for I haven't seen such a system and was wondering if it could possibly form a solution for the boom operator. The spring system allows very intuitive usage. I have seen that steadicam has the tango boom model for cameras but that they haven't got any products for boom operators. What do you think of my idea? I think this could be a very useful project and worth working on it. Maybe there is a possibility on working together with Steadicam.

Best reagards Gert Van Laer

[Matti]

NAB 2011
Check the end of the video
Personally I feel Kit Cool least restricting for me if I was still booming

Matti