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Found 39 results

  1. Today I saw this 1955 TV production of Tennessee Earnie Ford because one of the kids is a friend of mine. One thing that stands out to me is that it serves as a good reminder about how simpler is often better, especially when the goal is to capture the essence of a music performance and entertainment, and the impromptu life the happens during it. Live on-camera vocals picked up with an overhead boom mic, no earwigs, no wireless mics, no body mics, no hand mics in anyone's face, no prerecord, live orchestra off-stage, live background vocals off-stage around a single mic. Yes, there is noticeable system noise from the early recording technology, and it was mixed live to a single track with no edits. But I dare say that the subtle nuances still come through better than most performances would today with 24bit and a hard drive full of tracks. Something to ponder.
  2. Shotgun vs. Hyper, deeper dive

    Hey all! Apologies is this feels beaten to death, but I have a question about indoor mic technique. I'm pretty well-versed in the arguments for using a shotgun vs. a non-shotgun indoors. But I've been thinking lately about the effect of distance on the signal-to-ambient-noise ratio. With a shotgun mic, the capsule is inherently farther away from the talent, since there is an interference tube between them. So is the off-axis rejection of a shotgun mic really that helpful when a hypercardioid capsule could be 6-8 inches closer? Thanks, Ben
  3. Boom box on set

    Hi everyone! As boom operator, I use to work with few boom boxes on set. I aprecciate skills like light weight, some compartiment to keep my script and callsheets safe, and some gadgets to keep wires and stuff like that... and of course enough strong to up me for booming in shadows problems... I have a beta version of an IKEA modified stair, and it's working well... What do you use for boom box? Maybe it would be fine share pics of our boom boxes to put some ideas in common. This night I will take some photos of mine on set
  4. As well as watching the American equivalent we decided to re-visit the 1990 English version. Well 4.3 picture and 16mm film is not the best but the sound is interesting!!! All done on a boom (probably a 416) with brief wide shots overlaid from close-ups. Great boom operating though with much close dialogue on the move! Gee I was using lavs a plenty since 1980 on features but I guess the style for tv was simple Oh well styles move on now lavs in ties and frocks are the current trend Interesting mike
  5. Hi everyone, I've found many topics (even in this forum) about boompole and cable (cabled vs uncabled booms, coiled vs straight cables, etc.) I've read many different opinions and as a newbie I'm a bit confused now. So, please, let me describe my situation before asking you some advices: I have a stereo mic (BP4025) with a XLR-5-pin plug. I'll use a Rycote blimp kit with XLR-5-pin plug too. Now I need a boompole. But the most important thing is that I'll have to follow my talent: let say that I'll have to move following her during a walk trying to capture the sounds of her footsteps and movements. I'd like to know what is in your opinion the most silent cable rig to connect the mic to the recorder in this run&gun situation: 1. A single external straight cable wrapped around the boompole, directly from the blimp plug to the recorder: this means having a dangling last segment of the straight cable (the segment from the end of the boompole to the recorder); 2. A single and totally dangling long coiled cable directly from the blimp plug to the recorder (not wrapped around the boompole); 3. Two cables: a straight cable well wrapped around the boompole, with the male plug fixed to the end of the boompole, where it's connected with another cable, a coiled cable this time, dangling from the end of the boompole to the recorder. As you can see I avioded boompole with internal cable because I've read that the internal cable could clacking around the inside of the moving pole. My questions simpy are: A) Which is the most silent solution for my run&gun situation? And Why? Do you recommend another cable rigging? Thanks a lot for your help.
  6. 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
  7. Odd mic noise problem with audio samples

    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
  8. Help identifying equipment

    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!
  9. 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.
  10. Boom operator question

    Hi All, I would like to know what equipment are essential for a boom operator to have on set. Thank you.
  11. 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
  12. 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
  13. Sanken CS3e sound differences

    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
  14. 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!
  15. 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
  16. NEW From Mozegear

    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
  17. 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
  18. Costa Rica or Bust!

    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!
  19. 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
  20. 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 ;-)
  21. 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!
  22. 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.
  23. Don't buy Loon Boom Poles

    Deleted Post
  24. 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!
  25. 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.