This is the most under appreciated and disrespected position in an independent production. Surprisingly by the director who will speak out loud over the scene instead of rehearsing with the actors before recording. The cameraman will also show disrespect in that they will literally step on your feet and bump into you without apology. It’s a thankless job and I suggest you don’t do it unless you’re being paid full rate and have a mixer too. Don’t do both. It’s impossible to do a good job. How can one person hold a boom pole and mix at the same time? Plus the mixer bag is heavy around your neck for most likely 12 hours plus a day. Oh yeah and make sure you get overtime when the production goes over 8 or 10 hours.
I've seen lots of disrespect on movie sets. People get SO besides themselves because they work in Hollywood. I've seen AD's act like primadonnas, it's ridiculous. EVERYONE should be appreciated, even the extras. Extras make scenes look realistic, and they treat them like crap.
I was the boom operator for a recent short film and I must say: damn, that was a hard job to do!! Every single movement was recorded so I had to stay as still as possible while trying to hold up the mic. I came home with extremely sore arms. XD
As a professional boom operator I'll say that I agree with 99% of what you said. The only thing I'll say is that externally wrapped cables are quieter than internally cabled booms if you wrap it correctly. In the video you show a curly XLR going from the microphone down the boom to the operator's hand and you never want to do that. Using a straight cable, go out of the microphone to the very end of the boom pole and secure it there so you're not pulling on the microphone and directing handling noise into the microphone. From there, spin the boom in your hands a few times so the microphone cable wraps snugly around the boompole. It won't make any noise that way. Personally, I only boom with internally cabled booms and never have any issue with handling noise. All in all... A+ on the video! Keep up the great work!
Hey man, I have a question about microphones. Is there any way I can get a wireless mic or something that I can later connect to my video? My camera has no mic inputs.
Thanks for mentioning that, Allen. I've just purchased my first boom pole and the guy at Trew Audio advised me to use an external cable. Since I'm a newbie at this I've taken his advice and ordered the model without internal cabling. I'm still waiting for my order to arrive, so I have yet to test out the theory in practice. Hoping I've made the right choice.
Avoid standing in your preferred spot before the rest of the crew AND LIGHTING is set to avoid hearing the DP say "I need a light right where the boom guy is standing". Once everybody is set move the two or three feet to your spot and make sure it is still good and if it isn't have your alt spot in mind. You never want to hear - waiting for sound.
I've done a few jobs like this. I'm still a novice but I'm quickly learning just how difficult this job can get. And one more thing to add to the list of noises to consider: if you ever have to step with the actors, you have to match your steps or it sounds like they have 4 legs lmao
Depends on the mics, your shoes, and the surface. I can step silently on anything except gravel. Even then I can keep it to a minimum by ninja footing.
I’m a high school student in a TV Broadcasting class and we make lots of videos to go ok the live broadcast. I found this video very helpful, I usury use a RØDE onboard mic, but I’ve been recently using a boom because it’s much better quality. All the tips and tricks really helped me out with my videos
Great stuff. Very useful video. Would you advise wrapping the cable around the pole? I've found it better to let it dangle, because I find it always hits against the pole otherwise.
Can anyone help me with this problem, I have a røde boom and a mic (not røde) that doesn't fit my boom Does anyone have any links on Amazon I can get boom adapters for my mic please?
I'm seriously thinking about becoming a boom mic operator as a profession. However, I still have a lot of questions need answering. How does one become the official boom operator on a film, TV show, etc.? Where would I go? Do they teach the ins and outs of being a mic operator at a film school or something? Are boom operators who are doing a project always on the road w/ the cast and crew? Do they ever get any free time? How much does the average boom operator make?
+MrHothead099 i'm currently at Columbia college in Chicago and we only use alums and students for any film set. I'm pretty sure that's what they do at every film school.
Do lots of free shoots as sound recordist / boom op on low / no budget shots to gain experience. And try to get on board as a sound utility on bigger productions to gain experience under experienced sound teams.
I got started by asking to intern at a recording studio. Then met a friend of the owner who is a local director of indie films/music videos/commercials and expressed interest in audio production. He (being solo) needed the help so I joined the crew of his indie film for free and did some comedy skits and a music video for free but everything after that I got paid for.
Tl;Dr networking is your friend. Start local. And honestly, just show up to projects when you get a chance. Half the time, people work alone because those that offer help just aren't committed
I have a question. What is the best setting for mic when record people voice? I use kenwood and there is 2 option (normal and tele) and how do you minimize echo when people screaming indoor? Thanks.
Chris King no, you’ll then pick up reverb and all sorts of outside noise doing it. Could maybe work in like an office or something but out in the world it would be a somewhat noises mess
OK lets try this a different way and make it easier for you. 1. what choice of mics do you have? 2. Why would a shotgun mic work best inside over other mics?
From personal experience, unless you own a cardioid and shotgun that have identical sonic qualities, you'll want to stick to using ONE microphone for a production. Idealy, you would use that same microphone for things like Foley in post. Otherwise, yes, you are on point with your comment. Short Cardioid mics for indoors, shotguns for outdoors.
If the actor is partially or completely naked than you can't get away with a Lapel. Every situation is different and your ability to adapt for the best result is essential.
"Why not use lapel mics with tiny recorders on the actors?" 🤔 Why not use a stand to hold the boom, and even use a good head for pan and tilt positioning? *Why does someone have to hold a boom?* Less vibrations with a stand, and the boom operator can still monitor the audio and mixer all day and not get tired. *Obviously I'm missing something here, or maybe not.*
Id say booming dialogue is pointless and causes more work.better off having every actor sit down in a quiet room and record the audio so theres no having to create more stress of capturing bad sound.
This is the most under appreciated and disrespected position in an independent production. Surprisingly by the director who will speak out loud over the scene instead of rehearsing with the actors before recording. The cameraman will also show disrespect in that they will literally step on your feet and bump into you without apology. It’s a thankless job and I suggest you don’t do it unless you’re being paid full rate and have a mixer too. Don’t do both. It’s impossible to do a good job. How can one person hold a boom pole and mix at the same time? Plus the mixer bag is heavy around your neck for most likely 12 hours plus a day. Oh yeah and make sure you get overtime when the production goes over 8 or 10 hours.
I've seen lots of disrespect on movie sets. People get SO besides themselves because they work in Hollywood. I've seen AD's act like primadonnas, it's ridiculous. EVERYONE should be appreciated, even the extras. Extras make scenes look realistic, and they treat them like crap.
@@HapillyMe yeah Hollywood is a commercialistic formulaic garbage churn. I would just avoid that at all costs.
I was the boom operator for a recent short film and I must say: damn, that was a hard job to do!! Every single movement was recorded so I had to stay as still as possible while trying to hold up the mic. I came home with extremely sore arms. XD
Very good to know!
Yes I agree
Ok boomer
As a professional boom operator I'll say that I agree with 99% of what you said. The only thing I'll say is that externally wrapped cables are quieter than internally cabled booms if you wrap it correctly. In the video you show a curly XLR going from the microphone down the boom to the operator's hand and you never want to do that. Using a straight cable, go out of the microphone to the very end of the boom pole and secure it there so you're not pulling on the microphone and directing handling noise into the microphone. From there, spin the boom in your hands a few times so the microphone cable wraps snugly around the boompole. It won't make any noise that way. Personally, I only boom with internally cabled booms and never have any issue with handling noise. All in all... A+ on the video! Keep up the great work!
Hey man, I have a question about microphones. Is there any way I can get a wireless mic or something that I can later connect to my video? My camera has no mic inputs.
+Zoodoo Piper Record your microphone into external recorder, like Zoom h2n or h4n.
Nooooo... don't get an H4n or H2n! They're bad/outdated/overpriced. Go with a Tascam DR60D mk2 or DR70D instead if you're budget constrained.
Thanks for mentioning that, Allen. I've just purchased my first boom pole and the guy at Trew Audio advised me to use an external cable. Since I'm a newbie at this I've taken his advice and ordered the model without internal cabling. I'm still waiting for my order to arrive, so I have yet to test out the theory in practice. Hoping I've made the right choice.
@@zoodoopiper959 use a clapper to sync audio and video.
Avoid standing in your preferred spot before the rest of the crew AND LIGHTING is set to avoid hearing the DP say "I need a light right where the boom guy is standing". Once everybody is set move the two or three feet to your spot and make sure it is still good and if it isn't have your alt spot in mind. You never want to hear - waiting for sound.
I've done a few jobs like this. I'm still a novice but I'm quickly learning just how difficult this job can get. And one more thing to add to the list of noises to consider: if you ever have to step with the actors, you have to match your steps or it sounds like they have 4 legs lmao
Depends on the mics, your shoes, and the surface. I can step silently on anything except gravel. Even then I can keep it to a minimum by ninja footing.
Thank you for giving video examples to support your lesson.
I’m a high school student in a TV Broadcasting class and we make lots of videos to go ok the live broadcast. I found this video very helpful, I usury use a RØDE onboard mic, but I’ve been recently using a boom because it’s much better quality. All the tips and tricks really helped me out with my videos
looks like a strenuous job I hope they get paid well.
my arms will fall completely off!
I've done it before it's tough
Waawww... Man you deserve a big gift for sharing all this to us, it's been really helpful to me.
Thank you once again
Cool wow one of the best boom operator crash curses I've ever seen - great work ;)
The information appeared thorough and easy to comprehend and digest. Thanks!
Best and cleanest summary on youtube.
Best video about booming on RUclips found.
Not anymore. Many pro boom ops are now teaching on RUclips. I'm one of them.
I never realized how critical that job was💯💯
thanks! we are about to shoot our first films with a boom mic in it and your video gave us a lot of useful tips!!!
Let's hope the boom isn't actually "in" the films. ;)
Great information, and advice!
Good video and sound. Thanks for opening boom operator secret ninja techniques to the whole world... Just kiddin'
Excellent video!
Thank you sir, such kind of video.
thank you Sir for tips ... u really help me alot...
I like this message for the audio,am live in Nigeria
I found this very informative thank you
Very helpful thank you!
This was a very good video
great video !!!! thank you
I love this man
pretty useful! thanks!
THANK YOU!!
What is the best or good recorder to use for a shotgun mic?
What EXACT boom mic and equipment is this? Please reply thanks
great video..
Great stuff. Very useful video.
Would you advise wrapping the cable around the pole? I've found it better to let it dangle, because I find it always hits against the pole otherwise.
I do. I just have to make sure to leave some slack where the cable connects to the mic or we get clicking in the audio.
At the start I noticed he was able to change the position of the mic on top of the pole how is he doing that
Thanks!
Can anyone help me with this problem, I have a røde boom and a mic (not røde) that doesn't fit my boom
Does anyone have any links on Amazon I can get boom adapters for my mic please?
That Boom operator is smokin'
Thank you, now I know how my boom operator is suppose to hold it,
ty for this
People really underestimate difficulty of booming
I'm seriously thinking about becoming a boom mic operator as a profession. However, I still have a lot of questions need answering. How does one become the official boom operator on a film, TV show, etc.? Where would I go? Do they teach the ins and outs of being a mic operator at a film school or something? Are boom operators who are doing a project always on the road w/ the cast and crew? Do they ever get any free time? How much does the average boom operator make?
+MrHothead099 i'm currently at Columbia college in Chicago and we only use alums and students for any film set. I'm pretty sure that's what they do at every film school.
Do lots of free shoots as sound recordist / boom op on low / no budget shots to gain experience.
And try to get on board as a sound utility on bigger productions to gain experience under experienced sound teams.
I got started by asking to intern at a recording studio. Then met a friend of the owner who is a local director of indie films/music videos/commercials and expressed interest in audio production. He (being solo) needed the help so I joined the crew of his indie film for free and did some comedy skits and a music video for free but everything after that I got paid for.
Tl;Dr networking is your friend. Start local. And honestly, just show up to projects when you get a chance. Half the time, people work alone because those that offer help just aren't committed
What is the name of the telescopic rod? I can´t find it online!
What is put in those bags. How are audio recorded when not attached to camera
I have a question. What is the best setting for mic when record people voice? I use kenwood and there is 2 option (normal and tele)
and how do you minimize echo when people screaming indoor?
Thanks.
option 2 (tele)
buy micing closer to subject and gain/trim down.
some directors want an audio feed, how do you do that wirelessly in a mobile way ? All i can find is Rack gear without battery operation
So it's necessary to read the script
Why aren't they mounted on adjustable stands to relieve the operator of arm fatigue
nice
beğendim
omni directional mics for recording multiple people instead of directional?
Chris King no, you’ll then pick up reverb and all sorts of outside noise doing it. Could maybe work in like an office or something but out in the world it would be a somewhat noises mess
I wanna vote up but it's at 666 and I don't wanna ruin it. great info. helping a buddy with audio soon for his first film.
What’s the bag for?
2:00 boon ops lol
Boom operator: **Uses years of experience as a boom operator to be a horrible boom operator**
Rehearsal? What's that? Jkjk♡
Well my method is to record one actor all the way through and vice versa.
JT Production with the edirol, it's possible to use more than one operator.
Why don't you use 2 mic at the same time 😂
Why on earth would you use a shotgun mic like that indoors? did they not teach you that?
+jaradh67 ......... wut.
OK lets try this a different way and make it easier for you. 1. what choice of mics do you have? 2. Why would a shotgun mic work best inside over other mics?
From personal experience, unless you own a cardioid and shotgun that have identical sonic qualities, you'll want to stick to using ONE microphone for a production. Idealy, you would use that same microphone for things like Foley in post.
Otherwise, yes, you are on point with your comment. Short Cardioid mics for indoors, shotguns for outdoors.
If the actor is partially or completely naked than you can't get away with a Lapel. Every situation is different and your ability to adapt for the best result is essential.
The guy with the boom is "boom boom hot"
😐
Great Watch! Thanks for sharing!! You've got my "Thumbs Up" & Subscribe #HAUSHILLMEDIA
Ok, Boomer.
not easy 😏
"Why not use lapel mics with tiny recorders on the actors?" 🤔
Why not use a stand to hold the boom, and even use a good head for pan and tilt positioning? *Why does someone have to hold a boom?* Less vibrations with a stand, and the boom operator can still monitor the audio and mixer all day and not get tired.
*Obviously I'm missing something here, or maybe not.*
Did you just wink at me?
Id say booming dialogue is pointless and causes more work.better off having every actor sit down in a quiet room and record the audio so theres no having to create more stress of capturing bad sound.
she?
two mics one boom problem solved
I really started to respect boomers after this video.
Boom polers, I mean...
But boomers too...