Jump to content

Search the Community

Showing results for tags 'boompole'.



More search options

  • Search By Tags

    Type tags separated by commas.
  • Search By Author

Content Type


Forums

  • Main Board
    • Current
    • The Daily Journal
    • General Discussion
    • Equipment
    • Cameras... love them, hate them
    • Recording Direct to Computer
    • Workflow
    • The Post Place
    • Images of Interest
    • Macs... and the other computer
    • All Things Apple
    • Technical Reference
    • Do It Yourself
    • Manufacturers & Dealers
    • Work Available - Available for Work
    • Post to the Host
  • JWSOUND RESOURCE
    • Donate to Support JWSOUNDGROUP

Group


AIM


MSN


Website URL


ICQ


Yahoo


Jabber


Skype


Location


Interests


About

Found 9 results

  1. 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.
  2. To celebrate their 20-year anniversary K-Tek brings back a beloved classic Boom Pole Accessory: the K-Tek Klassic Counterweight, which was previously also known as the Hodge’s Weight. As shooting days and individual take lengths continue to grow longer, boom pole operators everywhere are fighting fatigue. Even though K-Tek’s Graphite boom poles are some of the lightest in the industry, a rigged boom pole might actually “feel” heavier throughout a long shooting day. Although the weight of the dressed pole may only be four pounds, it’s the downward movement force of the microphone and mount at the far end of a long pole that’s the culprit. Due to the length of the boompole acting like a lever, the low weight of the microphone and mount becomes amplified. The answer to the problem is counterbalance and the solution is K-Tek’s Klassic Counterweight. This finely machined foam covered brass, weighs 1.7 lbs (770 gram) and can be attached to the base of any K-Tek Klassic boom pole. Once installed, the strain on the user is greatly reduced as the tiring off-balance force on the boom lever is balanced out. Although the weight is actually slightly increased, the Klassic Counter Weight reduces the stress on the boom operator, so overall the boom “feels” lighter. For large payloads at the tip of the boom, multiple Counterweights can be stacked. Named after Scottish geometry mathematician W.V.D. Hodge, this counterweight is well-known and highly sought after among experienced boom operators like Ronald Wright. After 7 years working boom on the rigorous Hawaii 5-0, he explains “It saved me the first season when I did so much stuff standing in the water. When I put the Counterweight on, it helped keep me stable in the surf. And on the streets it helps me keep everything balanced when I work at a distance.” With a List Price of $95, the Klassic Hodge’s Counterweights (Order Code: KHCW) are available now. For further information or to locate a local dealer contact: www.ktekpro.com
  3. Hello, has anyone here tried to put their own coiled cable into a rycote boompole without one? The construction seems almost the same. I only need the cable and cut the hole in the bottom. Also - any tips on sourcing coiled cable? Thanks, Jonas
  4. Ever tried mounting a KFT flow-through base underneath a KTA2? I like the form factor of the KFT's four inch slot for hand gripping, and from images it looks possible to lose the KTA2's mushroom cap base and replace it with the KFT. Perhaps?
  5. It was rarely so relieving to post that we are finally shipping... After our first production line (incl. the 3 QS poles shown in the USA) failed our quality tests because they were not as stiff as the prototypes but "only" as stiff as a QP, we suffered from the biggest flood in history. All streets to and from our boom factory were blocked for weeks. Luckily our facility is on a hill near Passau, so it was not directly affected by the flood. Today we finally could start the assembling of the first QS poles and start shipping. We are very sorry for anybody who had to wait and we do our best to catch up with our backorders asap. Your Ambient Team
  6. 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
  7. Hi everybody, I'm soon going to buy my first boompole. Sometime ago I tried an Ambient QX from a local rental company and I liked how it did perform, so I'm thinking about ordering this one. Can anybody post about their experience with their QX poles? What are the pros and cons of using them? I'm mainly concerned about stiffness, handling noise and how smooth, durable and reliable the joint connections are. I WON'T be using the pole with an internal cable, and I'm in Europe. Thanks in advance for the input.
  8. As you may know, Ambient changed the design of their QP line of boom poles last year from matte black coated carbon fiber to a shiny weave of carbon fiber. Since buying a new QP-4140 last year, I've run into a couple of problems with it reflecting bright light sources that hit it directly. Normally you can cross a bright light source as long as it doesn't cast a shadow into frame or change the light level but the new design reflects light so this isn't always possible. In the attached pictures, there was a Source 4 to my right firing into the cabinet on the left and I was booming someone under it. If I were to barely break the beam of light, a ring of light reflected off the surface of the boom into the room which was very noticeable (pictured). I called Ambient in Germany, asked numerous people on set, other fellow boom slingers and even posted in the jwsound Facebook group asking for ideas on how I can dull the surface of the boom but thought I'd try here too. Suggestions ranged from trying to sand the boom with 600 grain (after a lot of sanding with many pieces of sandpaper it took the shiny finish off it but the weave still reflects) and sanding it with #0000 steel wool (if it did anything, I couldn't see it) to the ridiculous such as wrapping it in paper tape. If you have any thoughts or experience with such things, I'd appreciate the input. I'm hoping the solution isn't to pay to have it professionally matte painted with a non-chipping coating or something (if there is such a thing that would work) but I'll take the time to try a solution if might help. Obviously, I'm trying to not destroy the pole. Thanks, in advance, for your input.
  9. I've been using K-tek for some time now, but wanted to know of any other boom poles that would be able to extend 12ft. and over, be lightweight and have low/no noise with an internal coiled cable. Any suggestions? Thanks, Steve
×