Need micing help on a movie set.. Anyone know how?

[Toi]

I will be working as a boom opertaor for the first time ever on a short film in London for a few days.

I will be working with radio mics and an boom mic and maybe even lancelet mics. Does anyone know the best thing or things I should do when it comes to micing actors voices for a film set that maybe both inside a building and outside also?

[Tim Halligan]

Originally Posted by Toi

I will be working as a boom opertaor for the first time ever on a short film in London for a few days.

Congrats, you will see the art of audio recording from another perspective.

Originally Posted by Toi went on...

I will be working with radio mics and an boom mic and maybe even lancelet mics.

I think you might mean lavalier mics...which will be radio mics anyway.

Originally Posted by Toi asked...

Does anyone know the best thing or things I should do when it comes to micing actors voices for a film set that maybe both inside a building and outside also?

Okay, here is the awful truth...as the boom operator, you won't be the one making those decisions. You are nothing but an untrained (by the sound if it) monkey. The mic choice will depend on the location, the shot, and the style of sound that the director, the senior sound editor, and the production mixer have discussed in pre-pro.

What you will be doing is holding a boom over the actors' heads with a microphone (typically a Sennheiser 416 or 816 or the newer MKH 60 or 70) in a Zeppelin for exteriors or a foamie for interiors and gently pointing the mic at each actor before they speak - without causing audible bumps or letting the boom fall into shot!

Getting the boom in shot will make you extremely unpopular very quickly.

You may also be placing the radio mics on the actors. Be gentle. Do not damage the costumes or the wardrobe department will be upset. A lot.
For female cast, depending on the actual costume, you may have to get a female wardrobe assistant to do it for you...
The production sound mixer will fill you in about bodypack pouches etc.

You may also be required to run cables to feed video splits, director's cans...producer's cans...set up speakers for playback of music etc, you might even have liase with the camera assitant about Timecode...but probably not.

Best advice:

Eyes open
Ears open
Mouth shut



Enjoy. Working on a film set can be a real blast.
Enjoy the catering.



Cheers,
Tim

[petsematary]

Try and learn as much as you can by watching and listening to the sound guy who'll be your boss. He'll tell you where to stand so as not to cast shadows with the mic rod, how to handle the equipment and a million other things that have an effect on the sound. The cool/sad part of your job is that if you do it right, no one will ever think about it when they watch the finished picture.

[Toi]

Hi It's me again: Toi. Maybe I forgot to mention that I am a short person of a sort of slight build too.

Got any advice for a short little person working as a boom operator?

Thanks for the previous advice both of you.

The person who hired me has never seen me before and therefore didn't know I was short til I told him over the phone. He said he preferred taller people for that job of course. I really applied to him for just a runner position anyway.

A friend of mine said a boom operator needs a lot of upper body strength for the job.

So what can a short little boom operator do on the job that won't tick anybody off?

[Tim Halligan]

Toi,
One of the best boomies I've ever seen in action was somewhat "vertically challenged" and of slight build. Wiry would be a better word...

Don't sweat the strength part...it's not olympic weightlifting.

Hint: lock your front arm. Let it be the fulcrum in this wacky balancing act.

Your production mixer will guide you...


Relax. It'll be fun...but your body will let you know that you've been working some strange muscles.





Cheers,
Tim


PS. Junior make-up girls usually give good massages...or the set nurse. Look pitiful.

[RoundBadge]

For starters,Get yourself your own applebox or two[ask your mixer, he'll know what it is] and 8 step ladder and some REALLY comfortable shoes...
If you have anymore questions PM me..Ive been production mixing for 20 years here in LA.. and I'm very,very fortunate to work with some of the best boom operators in the business ..the really good ones make my job SO much easier/fun.
Everthing Tim and Pet said is dead on..great advice!
Also..make friends with the Grip and Electric depts..humor can go a long way with these guys[whom can help in all variety of ways ,from getting power to the soundcart to helping with boom shadow issues,etc,etc]
and the Wardrobe Dept can be a very important ally when wireless mics come into play.. ...help there or lack thereoff, can make or break you when it comes to micing actors..
also ...Remember peoples names,it's a big team effort.
good luck.

[zarembo]

love this one. good info all round.

Hey Roundbadge, have you seen those booms where you're strapped into a harness and the boom is held at chest level on a fulcrum and you just balance it?

looks a little dorky but might be a good idea if one tires easily.

my buddy has some Gitzo fiber boom poles which seem crazy light but he says they do get heaiver as the day goes on.

Always wanted to get in on more location sound.

Have responded to a few calls on craig's list for boom operator in no-budget films and they seem to only want people with prior boom experience.
Choosy beggars, all those filmmakers with no budget.

I'm just yakking over this thread, but location sound is super fun!

break a leg dude.

[Tim Halligan]

Originally Posted by zarembo

love this one. good info all round.

Hey Roundbadge, have you seen those booms where you're strapped into a harness and the boom is held at chest level on a fulcrum and you just balance it?

looks a little dorky but might be a good idea if one tires easily.

Ahh yes. The "boom buddy". It's design more for EFP applications - single operator scenarios - where the recordist/boom op needs a free hand to twist the nobs...

Looks more that a little dorky...

Given that the boomy only has to hold it up during a take, you spend more time in a day waiting than actually carrying the damn thing...

Originally Posted by zarembo went on..

Have responded to a few calls on craig's list for boom operator in no-budget films and they seem to only want people with prior boom experience.
Choosy beggars, all those filmmakers with no budget.

Actually, an experieced sound team will save a no-budget film money by getting it right the first time...



Cheers,
Tim

[RoundBadge]

Originally Posted by Tim Halligan

Actually, an experieced sound team will save a no-budget film money by getting it right the first time...



Cheers,
Tim

Amen to that brother!

[zarembo]

but all I'm saying is I've been doing studio recording and live sound for over ten years and you'd think they'd let me hold the frickin boom just once

[boomed]

Right up my alley.

I'm a Location Sound Mixer and if you have never boomed before I do not envy you for what you will be walking into. The Boom Operator is the hot seat on the film set. The first time you are the cause of a retake you will never hear the end of it. At the same time, if you don't fight for the best sound the mixer will ride your ass. You only have to be perfect every take.

I would suggest getting a painter's pole (if you don't have access to a boom pole) and attach a mini Maglight to the end. Extend the pole to around 12' and start exercising muscles you never knew you had in your back. The flashlight will help you see where you are aiming. Practice around the house with a friend and follow them walking and talking. Practice staying above and shine the flash light between the mouth and chest at intervals of 3', 2', and 1'. Practice long takes of around 5 minuets.

The key to a quiet pole is smooth movements and good equipment. Insert pole handleing joke here. With a good shock mount and practice you will be able to make quick movements to jump between actors.

Your other responsability will be not creating any shadows. Make friends with the lighting people (Gaffer). They can help or hurt you. Try to stay on the side away from the key light as a general rule. Watch for shadows on the background and on the actors.

The sound mixer will most probably wire the actors since this is your first time. Watch and ask questions.

A true story :
I was working on a film where a boom op was hired for me. She was new to the job but had boomed a few times before. Our first shot of the movie she had to follow a lady into a room through a doorway, deliver a couple of lines to a little girl lying on the floor, she then had to follow her to the front door while stepping backwards over dolley track, conversation between two people at door, she then had to swing the boom around camera frame to boom from below as one actor bent down to talk to the little girl that comes running to the door.
Talk about trial by fire.

Best of luck...let us know how it goes.

Brad

[Tim Halligan]

Originally Posted by boomed

The Boom Operator is the hot seat on the film set. The first time you are the cause of a retake you will never hear the end of it. At the same time, if you don't fight for the best sound the mixer will ride your ass. You only have to be perfect every take.

Amen brother.

Originally Posted by boomed

I would suggest getting a painter's pole (if you don't have access to a boom pole) and attach a mini Maglight to the end. Extend the pole to around 12' and start exercising muscles you never knew you had in your back. The flashlight will help you see where you are aiming. Practice around the house with a friend and follow them walking and talking. Practice staying above and shine the flash light between the mouth and chest at intervals of 3', 2', and 1'. Practice long takes of around 5 minuets.

The key to a quiet pole is smooth movements and good equipment. Insert pole handleing joke here. With a good shock mount and practice you will be able to make quick movements to jump between actors.

I wish someone had given me that advice in my early days...

Originally Posted by boomed

A true story :
I was working on a film where a boom op was hired for me. She was new to the job but had boomed a few times before. Our first shot of the movie she had to follow a lady into a room through a doorway, deliver a couple of lines to a little girl lying on the floor, she then had to follow her to the front door while stepping backwards over dolley track, conversation between two people at door, she then had to swing the boom around camera frame to boom from below as one actor bent down to talk to the little girl that comes running to the door.
Talk about trial by fire.

Yikes!

Cheers,
Tim