What can I do to get noticed as a boom operator?

[Pete Cofrancesco]

Originally Posted by Ryan Elder

Oh okay, well there is no lav sound in that recording, in the third video. I was able to boom them both by moving the boom mic from person to person and taking turns.

So my booming is much better in the third video then, and boomed from person to person successfully though, do you think?

I'm saying if the audio from the lavs were properly monitored someone should have caught the hair touching the lav and fixed it. That's probably why the lav audio wasn't used. Yes you seem to be doing a good job booming but it is a noisy environment, it's not like a quiet movie set that you can hear mistakes.

I didn't do the indoor scenes, I just did the outdoor interview scene. I just did the one scene, and a separate boom operator did all the other scenes. The reason why you see the deadcat in the outdoor scene is cause it's a news interview and news reporters don't care if the mic is in the shot. So seeing the deadcat is intentional there, to give the illusion that it's the news. But I was asking about the sound quality though.

I think its a bad decision if it was intentional, the movement of the mic draws my attention away from the subjects. It just looks like a terrible amateur mistake but don't take my word ask anyone here. Under windy conditions the proper gear would have been a blimp. The fact that I've never boomed a mic and this is obvious to me and not to someone who is an aspiring boom operator isn't good.

[Ryan Elder]

Originally Posted by Pete Cofrancesco

I'm saying if the audio from the lavs were properly monitored someone should have caught the hair touching the lav and fixed it. That's probably why the lav audio wasn't used. Yes you seem to be doing a good job booming but it is a noisy environment, it's not like a quiet movie set that you can hear mistakes.

Oh okay, The headphones I was wearing was for the boom mic sound only, and someone else was monitoring the lavs, so I don't know anything about the lavs on that shoot. I just got the link to the finished product later, and they told me they went with my boom mic audio. I didn't pick the noisy environment, the director/producer did, and I just tried to work the best with it of course.

Originally Posted by Pete Cofrancesco

I think its a bad decision if it was intentional, the movement of the mic draws my attention away from the subjects. It just looks like a terrible amateur mistake but don't take my word ask anyone here. Under windy conditions the proper gear would have been a blimp.

Oh okay, but when you see people being interview on the news, the mic is pointed at them and you can see the mic in the shot, so isn't that more realistic for the news then? I have project coming up with more fake news scenes, so it's good to know :). Also, real Hollwood movies have the mic in the shot, during news interview scenes though. Robocop (1987), you can see the mic in the shot, in those scenes for example.

Also, you say that the proper equipment for wind protection that I should have used, should have been a blimp. I tried the blimp on it's own, but the wind still got through, since it was quite a windy day. So I then put the deadcat over the top of the blimp, and then wind didn't interfere. But isn't it normal to put the blimp on first, and then if the wind is still getting through, to then use the deadcat on after?

[Pete Cofrancesco]

Originally Posted by Ryan Elder

Oh okay, The headphones I was wearing was for the boom mic sound only, and someone else was monitoring the lavs, so I don't know anything about the lavs on that shoot. I just got the edit back later, and they told me they went with my boom mic audio. I didn't pick the environment, the director/producer did, and I just tried to work the best with it of course.

I'm nit picking. Every scenario is different. I typically shoot interviews solo. So I'd use lavs or mics on fixed boom stands and monitor that audio. It's not uncommon to have to noise issues where you don't have time or location to move the subject. The audio is fine and fits the setting.

Oh okay, but when you see people being interview on the news, the mic is pointed at them and you can see the mic in the shot, so isn't that more realistic for the news then? I have project coming up with more fake news scenes, so it's good to know :). Also, real Hollwood movies have the mic in the shot, during news interview scenes though. Robocop (1987), you can see the mic in the shot, in those scenes for example.

Also, you say that the proper equipment for wind protection that I should have used, should have been a blimp. I tried the blimp on it's own, but the wind still got through, since it was quite a windy day. So I then put the deadcat over the top of the blimp, and then wind didn't interfere. But isn't it normal to put the blimp on first, and then if the wind is still getting through, to then use the deadcat on after?

I think it's unnecessary and distracting how it's implemented. It's one thing if you had a wide shot and the subject surrounded by reporters sticking their mics in the person's face.

if you're trying to show samples of your booming technique most people are going to see that as a mistake.

I couldn't tell from the shot but if you put a dead cat over the blimp that would be the proper approach.

[Ryan Elder]

Oh okay thanks. I actually am doing a project with more fake news scenes like that later. I don't want to show the reports though, because that just means hiring more actors. So I thought that by just showing the mics, I could hide the fact that I do not have actors to play the reporters. Would this work though for an upcoming project?

And this is the most difficult part of filmmaking cause I would try to find creative ways to hide things, on a microbudget, but then it looks weird. Are there ways of thinking outside the box like that, that can work, since every time I try to go out, because of budget, it comes off as weird to the viewer?

And yes I did put the deadcat over the blimp. But what made you think I didn't use the blimp? Was it something in the audio?

[Paul Mailath]

Originally Posted by Roger Gunkel

Get off of your computer with your never ending questions and spend an equivalent amount of time in the real world practising some of the high quality advice given to you here. If you want to be noticed, then you need to produce work that people will give you credit for. No matter how much advice you take here, if you don't actually use it to find your own way, you will never get anywhere. You are simply spending a lot of time getting endless advice, then dissecting it all and comparing one piece of advice with another in every possible scenario, making you an expert in absolutely nothing!

Roger

EXACTLY - well said!

[Ryan Elder]

Okay so should I just stick to directing then, since directing a movie is technically easier so far it seems, than trying to get on other people's projects, since if you produce and direct your own, then you have more control?

Another thing is, is that one friend told me that all the movie shoots I have been so far, where I would work as a PA have been amateur he said, and I need to get on the really good productions if I want to get ahead. But where does one find those?

[Pete Cofrancesco]

Originally Posted by Ryan Elder

Okay so should I just stick to directing then, since directing a movie is technically easier so far it seems, than trying to get on other people's projects, since if you produce and direct your own, then you have mor control?

No it just means the samples you've shown aren't compelling and wouldn't get you hired. If you want to be a boom operator you'll need to work in places that use them. Shadow, assist, or something that puts you in touch with those people. Focus your time on that. These type of positions are hands on experience, word of mouth...

[Ryan Elder]

Oh okay thanks, so should I get on the word of mouth then?

[Brian Drysdale]

If you want to progress you'll need to network with professional sound recordists who work on productions that use boom operators, You need to build some sort of ongoing relationship with them, so that that know you're serious, competent and they can rely on you. After about a year or so you may get some kind of in with one of them. However, don't expect it to be as a boom swinger.

You need to know who's working on these types of productions in your area.

Some of the boom operators I know have been experienced sound recordists on TV programmes, then moved down a grade to get onto feature film and TV dramas.

[Ryan Elder]

Oh okay thanks. What do you mean when you say don't expect to be a boom swinger?

I have tried before to network there, with two PSMs, but so far they seem to prefer to do their own booming as well as be the PSM, probably to make more money I am guessing?

[Brian Drysdale]

What do you think I mean? You may be the assistant, moving cables and cases etc

Most sound recordists do their own boom operating. That would probably be the case on all the films you've posted, if they were professional productions. Many productions don't have the budget to pay for a boom operator.

[Ryan Elder]

Oh okay thanks. So far I have only been one where I was the boom and another person was the PSM. It was a volunteer gig, not that I minded, I want the experience.

Well I guess if it's expected for a PSM to also be the boom operator, than I could look to do other jobs then. But even when it comes to being an assistant and moving cables, etc, it seems they do that as well, on the shoots I've been on so far.

[Brian Drysdale]

They only have boom operators on productions that have good sized budgets, if they don't have those where you live you either have to move or become a sound recordist.

[Ryan Elder]

Oh okay. Well I suppose I could concentrate more on directing my own projects then, since getting on others has been tough. It seems like every time I apply, they don't need anyone, even if it's just volunteer do be a runner just to learn, they say they don't need a runner, probably cause they want to keep crew to a minimum.

[Brian Drysdale]

It's even tougher to get films made if you're not using your own money.

There's a lot of competition for any job on professional productions, getting on the first rung can take years, unless you have the right connections. The runner is a paid job.