Mixers expectations for Booms etc

[ndg2k005]

So, as far as mixers picking out boom ops, what is it that Mixers expect or look out for. For example, When I call production managers for any upcoming work, they tell me that they let there sound mixers pick out the boom ops. I have seen bad boomers before but how do you get that chance with mixers you've never worked with before. I guess one thing is showing them your reel if they feel like watching lol. What else?

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[Philip Perkins]

You have to call the mixers up and intro yourself.  Email is a little formal, best is an in-person intro by someone the mixer knows, because as a mixer it's important to me that the boom op and I be a good fit re: personality as well as skills.  Start working your way through the mixers you know or have heard of or have any personal connection with (they've worked with people who know you).  Most mixers keep some track of people who contact them who seem to have possibility, because sooner or later they won't be able to get one of their regulars, and then there is an opportunity for you.  Not a bad idea to talk to other boom ops too, if they think you are good they might suggest you for a job they aren't avail for.  Many of my boomists I met on no-budg volunteer jobs, so you might make yourself avail for those. 

It's a little ageist to say, but if you can team up with a talented and ambitious mixer close to your own age you can build a team that producers will know and come to count on, and that team can then rise through the ranks together.  This kind of thing worked out well for me.

[The Immoral Mr Teas]

Presumably just like hiring or selecting anybody for any job - start with people you get on with, including friends if you have any doing said job, then eventually experience will help dictate your choice or choices. Though experience in my own case started the other way around - I went out of my way to train / work with a handful of very talented people whom I knew would teach me a great deal, usually at the expense of a better paid job where I thought I would learn or experience less - and I've never regretted any of these early decisions.

Jez

[JonG]

A good way to not get hired is to show someone with any amount of experience your reel. 

[ryanpeds]

Networking!!

[mikewest]

Yep - what have they done in the past and who have they worked with.

Ask those they have worked with for an opinion and suitability for the job you have.

Also take them on a small/1 day job and judge their abilities

mike

[mojofunkster]

From my own personal experience, get on a shoot as a boom op (I had a friend that recommend me), and try to do everything you can for the mixer. Pay attention to how he packs and unpacks his equipment, how he talks to talent, keep a handful of batteries on you at all times, just learn how he does everything without asking him every time. Then you do the best you can when you boom.

This is how I started and now the mixer wants me to take a bunch of mixing jobs (because I get the production to rent the sound equipment from him). Basically we are scratching each other's backs. If you don't want to mix, just try to do your best.

And good luck. That's a big part of it.

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[stacysound]

Work for them as a third. 

[newzhack]

I worked on two movies this summer and they did not and would not let me hire a boom op. They said there are plenty of folks standing around? It was a nightmare to say the least. Lots of handling noise as well as off axis problems. 

[Philip Perkins]

If that's what you are told then you do what you can solo, and tell the producers what you'll be able to get for them and what you won't.  I did several indie features on my own back in the day and I basically told the director that w/o help I can get you about 80% of the dialog--the rest you fix in post.  There were days where I didn't get to 80% and some days where I did better than that, but they need to know that more ambitious scenes can be a losing battle for you. There is really no point in handing off the most important aspect of the sound dept to someone who doesn't care about the job or hasn't a clue about what's involved.  You may find a one-in-a-million person who is naturally talented for this work in that way, but that is unlikely.  Tell them to put that person in the camera dept as a focus-puller.

[John Blankenship]

Ask them if they're crewing up all the departments with amateurs or just the one that can cause them the most headaches and expense fixing in post.

[newzhack]

While we are talking booms. Is any one using Ktek boom poles? I recently used some ones Ktek pole and liked it over my VDB. Any suggestions on the best Ktek pole? I am looking for a short one they have a number of models.


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[Blas Kisic]

On August 7, 2016 at 10:36 AM, mojofunkster said:

Pay attention to how he packs and unpacks his equipment, how he talks to talent,

This sounds petty and somewhat inconsequential, but most experienced mixers I know are somewhat OCD about how they keep the gear in the carts/drawers/cases, and have a particular way how they wrap the headphone cables, lav wires, etc. and like things done a certain way.

You may feel those are not important things to keep in mind, but you'd be wrong. I know that I would probably not hire back a boom operator or utility person who didn't do those things. And the reason is, I want to find things the same way and in the same location the next time I need them - it saves me time and energy.

BK

[Philip Perkins]

Yes, and a perceptive newb would understand that this is not mindless OCD, it's about being able to put your hands on the right thing quickly in the heat of battle, and have it be easy to make sure that "all the children are home" at wrap, because that stuff is expensive and you are going to need to use it all again tomorrow.