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  1. Hey y'all. I'm new here, but I've been mixing/booming freelance for about six years now and I keep finding that there's no "one" way to mix a narrative feature, but I'd like to read how all of you go about your work day. I was let go from a shoot recently by a sound mixer I haven't worked with much in the past. I was his boom op and utility person. I was fired in a passive aggressive way, and I don't know his personal truth behind it all, but I'm perplexed as I've been moderately successful at this craft. Enough to keep making a living at it after six years anyway. My hunch is that I wasn't up to snuff with his ideas of a good boom operator. He'd get frustrated if I didn't capture footsteps clearly when an actor was walking further into the distance of a shot. "You need to turn the microphone and follower her!" he'd say. "What about sound perspective? And isn't a post sound guy going to create his own footsteps anyway? Is this worth making a big deal out of?" I'd shoot back. Or if two actors were talking I'd keep the boom stationary, evenly between them also knowing that they were laved on iso tracks. He'd bark, "You need to tilt the mic back and forth to capture the dialogue." "Won't that screw with the ambient room tone when we hear the mic shifting positions back and forth?" I'd ask. "Or what if the actor decides to improv an extra line and my shifting captures her dialogue unevenly?" Rather than dealing with my questions and helping me understand where he comes from with his experience as a sound mixer, he found it easier to fire me and hire an unknown. Now, I come from the experience that above all else the sound mixer's role is to capture clean, clear dialogue first and foremost. If I know the production is hiring a sound designer later, I don't stress about capturing sound effects on set. Especially if I'm getting paid $100 a 12-or-more-hour-day. My experience has always been that sound designers throw away pretty much anything that isn't dialogue. I'll get room tone after every scene (though most I've talked to say that's pretty unnecessary too in this day and age of ProTools), and I'll definitely capture a sound effect in an insert since I can get the boom inches away from the object making a sound, but I also won't ask for a 4th take if a plane came in on the third of that coffee mug being set on the table. Why hold up production over something so trivial? Hey, this isn't even a union shoot where we're going to make overtime. We're lucky if they call the pizza guy after the 12th hour! Sorry for getting carried away. I originally started this post because I wanted some opinions on how exactly one should conduct themselves as a boom operator. Is there a standard way to do it on a narrative film? All replies are appreciated. Thank you.
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