Nate C

Run some camera tape along the zep where the pistol grip slides in. Found this helps as often some wind gets in through the opening of the windjammer.

I live on the other side of the world. The cost of shipping some soft boost DPA caps is more than the cost of the caps themselves. Guess I'll hold off till I need to order some other stuff to make it worth while.

We had a new utility , Max, that I had never worked with today. Wasn't till the drive home that I realized his name is actually Karl. Sorry Max, um Karl.

How did I miss this topic? I primarily work as a boomie, based in Australia. Here the boom swinger is expected to own their own pole. Which I am glad of as I know my poles are well maintained. Have worked with many that haven't been and that can turn what would otherwise be a good pole into a piece of Shit. While I don't clean my poles once a month, I will clean them as soon as I can feel them getting dirty and usually carry a cloth (or at least my shirt) to wipe any dust/water etc off as the day goes by. Dan spend the money on Panamic, you will not be sorry(unless you want internally cabled, not possible with Panamic). They are a little heavier, but the most rigid pole I have used. Never have to release more than a quarter of a turn to easily adjust length. You can adjust the tension in which the pole slides in and out(have to pull apart the pole to do so). Which I have only done a couple of times when I knew I was going to be on full extension a lot swinging a KMr82 outdoors in high wind. Oh and a simple quick release system. But one of the most important things is you can separate ever part in order to clean the pole thoroughly. Love my short/doco K-tek pole. When doing reality/doco/bag type work I like to be able to change the length of the pole during a shot. This is not possible with Panamic poles due to the compression effect. Alas it has a tendency to come loose. As for my long K-tek (6m?), politely, not a fan. Issues mentioned before, rainbow effect, creaking. In hindsight I would not have brought the longest pole K-tek make. I too liked the older VDB poles the few times I have used them, although found them a bit flexi. Sorry really didn't like ambient or Gitzo. That said have only used rentals that had not been looked after.

It can be real difficult on relationships. I was away for the 3 weeks leading up to my wedding. Had to change flights, move the bucks night, chase up guests RSVP's, organize seating arrangements whilst in the middle of nowhere. Sometimes I will turn down away jobs in order to spend time with my wife. The beauty of freelancing is we can choose when to work or not. Luckily my wife has a good steady income that allows us to cover the mortgage during dry periods. When I'm not working I can get more done around the house and basically be a good house husband. God knows she looks after me when I am doing crazy hours. All that said we are location soundies cause we love what we do. I took a year off and worked in an office. Most unfulfilling year of my life, work wise. It is a balancing act of sacrifices and rewards, and when you get it right, it is amazing.

When it comes to booming, watch the blocking (understanding it will change on the day), whilst keeping an ear on what the DP and director are planning, shot wise. Quite likely deferent to proposed shot list. It also helps to listen in on rehearsals or director time with the actors when the shot is being set up. Keeping in mind not to interrupt their process. As for learning the dialogue I will read the scenes for the day over and over again till I have it basically in my head. To be honest I rarely know the dialogue word for word, but I will know the last few words of each actors lines and first of the following actors lines. Also the pattern in which they speak. Coming from doco/reality you already have one of the best tools a boomie needs... being able to read body language. Oh and always have the script for the scene you are shoting in your back pocket. There is absolutely no excuse for not doing so. Often the Gaffer and 1st AC can be your best friends. One thing that will never change is the shot needs to be lit in one form or another, so develop an understanding of lighting. I like to play with shadows before a take to ensure I have a plan B & C when things don't go to plan. Knowing lenses is important and composition. As Robert mentioned, primes are becoming more and more rare as are the norms. I find my self taking a quick peak at the focus pullers monitor or split when possible. Thankfully using a wireless boom has made this a lot easier. Basically be everywhere at once, hear everything whilst not being seen or heard. Like being a naughty little child it can be so much fun.

Whitney I have had varied success taping the mic head under the collar. With wardrobes permission, cut a small hole in the back of the collar under the fold, to run the cable from inside the shirt. Make sure the mic is as close to the front of the collar as possible. Head turns tend to be the main issue. Oh and neck stuble... you know that sexy five o'clock shadow.

Agreed four points of contact are a nightmare, but my lower back and shoulders really appreciate my hips carrying the load.

A bit of an aside. On the note of harnesses, has anyone any experience or issues using the Portabrace AH series with Petrol bags. Wanting to upgrade my bag as my kit expands and still undecided whether to go the Pegz or the Portabrace AO route. Pegz is winning on the pro to con ratio, but I do prefer the portabrace harness.

If the only issue you have with your portabrace bag is the RM Multi pulling away from the mixer bag.Try cable tying the top rings together. If all the velcro straps are secured (especially the horizontal one going across the top between the two bags) then you shouldn't have any issue of the bags separating. At least thats worked for me for the last few years.

Andre I have an old work desk similar to yours and a set a draws that I share with my wife. Both constantly covered in bits in pieces for the next job or just in case. Best not walk on the floor bare foot. Those tiny little wire off cuts I keep meaning to clean up. Eric some what envious, simple, functional and would fit in my study. Oh and I could use some decent tools. Just rewired two DPA 4063 to TA5 with a crappy $20 solder iron, pair of scissors and needle noose pliers. Think I lost at least two inches cable getting it right. Learning experience.

This is from a project I recently wrapped in Balgo, on the outskirts of the Great Sandy Dessert, Western Australia. We were helping teach mob in the community film making techniques. I felt honored to share my knowledge and to meet some amazing people. Here Bandy is telling me the stories of his peoples' land, in aboriginal english. English is not the main language spoken out here. He is one of the senior law men of the Warlayirti people. It is amazing to think that until he was nearly twenty he was still living traditionally and had never seen a white man.

I don't use anything to hold the cable in place. When doing bag jobs, I use a curly cable. It is great. No messy loops of cable. Easy to lock into one finger, in order to hold in position. Usually hold it with my front hand. Have two curly cables, a newish one I use for doco pole and an old stretched curly that I use on my panamic maxi. I know this doesn't really answer your question, but I'll never go back to using a straight cable for bag jobs again.

Recently worked on a doco where we were using the SRA's powered by the camera F900. What the sound crew were not warned about ( and once we were far from civilization) was that we would also be shooting using IR cameras that did not have the option of powering our SRAs. Not an issue for me, I have a battery sled for such occasions. Alas the other soundie didn't. He did manage to wire 2x 9v batteries without any sled. Worked, not pretty, but the show must go on. That got him through the 4 or 5 hrs we were shooting each night.