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Found 34 results

  1. Hello all, I'm an Irish Boom Operator moving to Vancouver next week and it would be great if anyone could give me advice on getting some work. I've recently graduated with a degree in Film & Documentary and have worked as a Boom Op on 2 seasons of Ros Na Rún. (Irish Soap Opera https://en.wikipedia.org/wiki/Ros_na_Rún ) I've left my reference and some photos attached below. Email: cian.strain94@gmail.com Ref Cian Strain.docx
  2. Hello all, I have a noise I can't figure out. I first noticed it when I bumped my boom. It is with a condenser mic. It makes a "crunch,hiss noise". The sound noise only happens if you bump the boom, or if you take it off the boom, and bump it in your hand, same thing. I am really not familiar with the whole humidity noise problem, something I've never had to deal with. I have switched mixers, cables and mics, and it is still there. The noise probably lasts for 600 milliseconds. Any ideas? Sincerely, Martin
  3. I'm not sure if this is the proper place to post this question so let me know if this question should go elsewhere. I came across some K-Tek equipment that I've been having trouble identifying. Only one piece was marked K-Tek and nothing had model numbers. I thought it was for some sort of video or camera type boom but the piece with the sharp blade has me totally stumped. I've gone through everything product I can find on their website & have found nothing similar. Any guidance on what this set is called or used for would be greatly appreciated!
  4. As a newish boom op, i'm wondering who and how to get a frameline. Most of the time, I can get a glimpse from video village or the small monitor off of camera, but there are times when there's a pan move that wasn't discussed that catches me off guard. Some 1st ac's are helpful, and say when they are getting focus marks is a good time, but when there isn't rehersal when is the appropriate time to ask? Is there a protocol for getting this info? It often feels like camera dept could care less about communicating with sound regarding frameline and pans.
  5. Hi All, I would like to know what equipment are essential for a boom operator to have on set. Thank you.
  6. Hi you all. I have a VDB boompole (carbon fibre) and it is around 10 years old, it is not new but it was working perfectly until... one of the inner thread (the one glued to the fibre tube, not the one that you hold with the hand to tight or loose for adjust the boompole extension) got unstick, so I can´t tight one of the boompole sections. How can I fix it? I think that glueing carbon fibre with metal should need some kind of special glue, I´m afraid to use any glue that will damage the boompole. I would appreciate any advice or experience thanks and regards
  7. Greetings, if any of you need a mixer/boom op in Hungary, feel free to contact me! My own equipment is fit for doc or short films, if You have your own, I can probably handle it. For example: I've been working on Marco Polo (Netflix) and Dracula (NBC) series as boom op/assistant. Cheers Samuel_Lehoczki_CV_2016.pdf
  8. Hey all, My main shotgun mic for about 4 years has been a trusty Sanken CS3 with the mod to make it a CS3e. Recently I needed another shotgun, so I picked up a second, new Sanken CS3e. I put them up together just for kicks and there is a small but definitely noticeable sound difference between the two. It's subtle but definitely there. The newer one is a little warmer sounding, with a bit more bottom end; the older one is a bit brighter. Interestingly, if I swap the foam windscreens between the two mics I can get them to match quite a bit better. If I put a thicker (cheaper) windscreen on the old one, and a nicer, more open-cell windscreen on the new one, the sound difference is practically negligible. I know this is a subtle thing, and probably a silly question. I also know that I can send the old back to Sanken for a checkup, but I wanted to ask you guys first as quite a few of you probably have experience with these mics, to see if the sound differences are normal or if they are something I should get looked at. Thanks! -Mike
  9. New to the area & to the Local 479 union looking to get started. Available for work as a boom op/utility on union or non-union productions. You can reach me at (301) 442-6565 or corey.chiles@gmail.com. Thanks!
  10. Hello! My name is William, and my question is a simple one, albeit over-asked. How does one get into the industry? I mean this in the most general sense. Should I start low and work my way up? Should I just buy a bunch of sound gear and pray? There seems to be so many paths to take, but I am unsure and honestly scared. I don't know what I'm doing and would love to hear what other people have done, and what's worked and what hasn't. My Current "Plan" My current plan is to move to Georga in the coming year, specifically Atlanta. I thought it would be best to try contacting people that are already in the industry, asking if they need any help with a Sound PA or Utility. I am willing to wrap as many cables and get them as much coffee as necessary. Hopefully, one day I can buy some of my own gear and start actually working as a Mixer/ENG on various productions. I don't see that as happening for a long time though. Does this sound like a good plan? Or would it unprofessional to just contact people already in the industry asking for work? What do you suggest I change about my current "plan of attack"? Thanks for your help! ~William Hirsch
  11. Hi all, I just got a Digi 002 to work with BR and wanted to confirm that it works at 24/48 in stand alone mode? I assume that using BR will not allow me to configure the Digi 002 for 24/96? The Digi 002 is sending prefader in stand alone mode (question being if the limiter can be applied before the signal reaches the BR)? Thanks Richard
  12. What's new at Mozegear? Introducing the Pip and the Papi Phantom Power in a whole new way! The Pip Tiny Phantom Power Module The Pip will available towards the end of June. It will retail for $199 The Papi Pre-Amp with Phantom Power The Papi will be available around the end of August-beginning of September It will retail for $469 For more information, go to www.mozegear.com
  13. Hi to you all, first post here. I'm a sound mixer based in barcelona, spain. I'm looking for an interior boom mic, i have read a lot of discussions here about hyper and super cardioids mics, i know that a lot of people loves their CMC641 and MKH50 (mkh 8040 and 8050 also), but unfortunately they are out of my budget. People allways recommend on a low budget this two mics the audix and the akg. Here in barcelona it's impossible to rent them and make a side by side comparison, so i would like to know if any of you have used boths and know your reviews as well. I like that the akg have a +6, 0, -10 db pad, and also a bass cut filter: 12 db/octave at 70hz and 150hz. Thanks to you all, regards from barcelona, spain. Nico
  14. Deleted Post
  15. Captain Chris Wade and the SeaWatch SharkBoat is about to leave US waters on a mission to save sharks in Costa Rica's beautiful Isla de Cocos with a crew of 10 and boat full of GoPros, Canon 5D's, DSLR's and Final Cut, ProLine, etc... Every moment of every day will be documented. On the Boat (handheld and fixed), In the water (drones and diving), in the air (drones). This is a self funded production in conjunction with The Shark Research Institute and SharkBoat.org. Does anyone have any suggestions as to individuals seeking a write-off to a 501c3 for 2014 in exchange for some used/unneeded gear (Booms, Wireless, Mixer, etc...) that could be donated for this amazing project. Or a sound person/ DIT looking to come to Costa Rica for 6 months on an unforgettable journey that is assured to capture content that no one has ever seen before. "The Pirates of the Pacific" are about to enter "Blood Waters" and could use your advice!
  16. Hi All, I found this new camera support device , the Rodcam to be very interesting. Kind of like a boom with extreme reach. I wonder if it would have any use for flying a mic in large sets and spaces... who knows? Anyhow, enjoy the video demo on this page : http://www.youtube.com/watch?v=ly7VwaGYNsY Cheers Everyone, Dave
  17. Hi everyone, around the beginning of the year I stumbled across some video of an upcoming product from a new manufacturer. A cable clamp that was mounted on the boom with tight rubber bands. I cannot find the video anymore or recall the product name or maufacurer. Does this ring a bell to someone? Thnx Disclaimer: I know it depends ;-)
  18. I've been a boom operator for only a couple of years, and I aim to continue doing this for some time. However, I am concerned about potential future back problems. I obviously stretch before shoots, excercise proper posture (no leaning) and have an extensive collection of muscle-soothing ointments. I was wondering if anyone could suggest techniques and equipment for taking the strain of operating off your mucles, as well as any excercises that may help to improve your necessary "booming" muscles. Cheers.
  19. Hello, Everyone!!! My name is Scott Harnell and I'm in the beginning stages of a career in production sound for film and television. I've been doing my homework (read Location Audio Simplified and Location Sound Bible, as well as lots of posts on the JWSound forums) and have started slowly putting together my kit. Now, I'd really like to gather first-hand experience from a seasoned professional. So far, I've worked on two professional gigs. The first was the official webcast of the Formula Drift event at Road Atlanta last year and the second was a documentary on the Atlanta Police Department's first sketch artist. At the Formula Drift event, I helped load and unload all of the gear, ran and gathered cable, placed spot mics for tire and engine noise, and was essentially a PA and sound utility in one. My experience on the documentary had me sitting solo at the sound helm, wiring the subject with a lav, and mixing. If you'd like some help, I'd love to assist you on any of your future projects in any way possible. I'd be willing to load and unload gear, get your coffee, check your batteries, wrangle your cables, or just be a gofer. If presented with the opportunity, I'd be most professional, invisible/silent, and make it a point to never be in the way, seeking only to facilitate a smooth and efficient shoot. If you could use some help, or would want to get some coffee or lunch to see if you'd be interested, please feel free to reach me at 404-218-3155 or scottharnell@gmail.com. Thanks in advance!
  20. Hello, I have posted a similar topic on this forum before but got no response. Hoping for a different result this time. I am a young broadcast mixer/a2 who is looking to learn the art of location mixing and recording. I have been getting a steady flow of reality and corporate gigs, but if I had the opportunity to do a job with more than a few lavs I would not be prepared. I am hoping to find an experienced mixer in the Bay Area to show me the ropes. I'd love to stop by a set and 2nd or 3rd for a day, but even an email dialogue with a successful local mixer would be awesome. Any and all help is appreciated! Thanks.
  21. Just curious, how many Mixers wish for their booms to go for the mouth and how many want to go for the chest? Let me know your thoughts!'
  22. Hi all! If you are looking to fill any position in the sound department for any production in NYC or nearby, look no further! I'm available to work as a mixer, boom op, or third. I graduated from NYU with a degree in Music Tech, taking many classes in film production and film sound, as well as working in over 20+ student films mostly as a mixer or boom op. While at NYU, I was mentored by production sound mixer Chat Gunter. I now have a few years of experience in production sound under my belt, and before that, many more in music recording as a recording and mixing engineer. If in need of equipment rental, I own a nice kit, including Sound Devices 302 Mixer, Zaxcom Nomad 10 Mixer/Recorder, Sennheiser MKH 416 shotgun mic, pair of AKG Blueline modular microphones, and Sennheiser wireless. I have superb work ethic, which some have claimed to be second to none! Looking forward to meeting and working with you!
  23. Munich, Germany 4th of April 2013 Ambient Recording goes Premium with the all new QS boompole For more than 20 years Ambient Recording has produced professional carbon fiber boompoles. The tubes used for our products are not off the shelf items but specially manufactured to our own specification using upscale yet still affordable Hi-Q modulus carbon fibers. This high quality soon made Ambient the leading manufacturer for professional booms in many parts of the world. Now we wanted to go one step beyond and construct our masterpiece. The QS boompole is handmade out of Pre-preg carbon. This is an extremely time-consuming way of production but it gives us the possibility to design the tube characteristics layer by layer. Our aim was to create a boom so stiff, lightweight and well balanced that the boom op can control his microphone like a surgeon controls his scalpel but from an 18 feet distance! Besides the tubing we refashioned the screw locks for better grip when working with gloves. The result we achieved is nothing less than the stiffest, most precise boom on the market that can truly be called the best pole we ever built. Facts - Weight: 37 oz - Length: 5.1' collapsed to 17.7' extended (with optional QP 120 up to 22') - Availability: Shipping starts 15th of May See you at NAB booth C2059 and C3027
  24. I've been passing some time going through gag reels from different TV shows and films and found this pretty funny boom that drops in shot and hit's one of the actors, apparently bird hit the poor operator I imagine on his face otherwise probably wouldn't have dropped like that but still had a good laugh. http://youtu.be/LlWzSYyqKps [starts at 2:12]
  25. Eager to get experience and build a reel Ample experience recording and mixing audio, seeking TV/Film work I know how to operate a boom and use a shotgun mic, Zoom recorder, lavs, etc Boom Op'd on a Dos Equis web ad and PA'd on a feature film, currently interning at Pro-Sound NYC Please see attached resume for more info Eric Rodgers Sound Mixer.pdf