John Bauman

"If we're shooting slow motion, why are we using so much film?" - UPM on a network series who was replaced shortly after "Oh, sound, I didn't even think about sound. What are you going to do?" - Producer after we rehearsed dialogue between two actors while they were being submerged in a water tank

Bad analogy. A better way to say it would be "this kid wanted to play bass, so he asked me how to build one. I suggested he learn to play first"

Does the QRX 200 deliver 48k sample rate? I know, to my deep disappointment, that the QRX100 did not.

Plant mics tend to be much too noisy compared to wired actors, when the windows are down. I would wire them with the wind protection of your choice, and make sure the seatbelts don't foul them up. For free driving, I've had good luck with setting up shotgun in a follow van with shark fins (Zaxcom), and running a local backup per Mike West's advice above.

No disrespect to the Spanish guy, but the Hugo video shows superb technique. Smooth, fluid moves through tight spaces. That move under and around the chandelier is outstanding. These are the kinds of setups that make boom operating one of the best jobs on set.

On location, if its a portable unit rented by the production, then they usually come with someone who turns it on and off. Otherwise Prodcution (PA) does it. If it's practical AC, then I talk to locations/site rep and work out how to shut it down. Then either the site rep, or Production (PA) does it. I always ask them to test their ability to shut it off, regardless of how certain they are that it isn't a problem. In my experience, site reps mean well, but have no idea what constitutes quiet for our purposes. All other noises are my department's responsibility to locate and address. If solutions are available, like turning off refrigeration, then we work with the appropriate department to make that happen (and to undo it upon wrap). If there are no solutions available, then we make the production aware and shoot.

Yeah, updated my units with the 96k update specifically, then the latest one (at that time). No joy.

I like recording the off camera. It's always better to have and not need. I am reminded of this just about every time I try to ignore it.

​Oh Hi Todd, Never read this response, so sorry for the late reply. For whatever reason, I've been unable to get the 96k to work, Also, the Nomad manual states that "Nomad will accept any unlocked AES signal with a sampling-rate of 44.1 to 96 kHz". As we know, the QRX delivers 32k, or 96k I guess, if you can get it to work. So, I was just looking for confirmation, which Glenn kindly provided.

​These days, I have all of the shots on monitors at my cart. I know how it should sound based on the frames I am seeing. If the sound is not matching the frame, then my operator needs to do a better job. In my days as a boom operator, I was fortunate to mostly work for guys who knew the position. They would never talk me into the shot. Other guys, maybe ones who hadn't much experience booming, might try to push me too close. I admit to, on occasion, giving them the brush off. That said, there were other times when I'd push a frame line for all it was worth, sometimes forcing the operator down a bit, if, for example he held too much foreground headroom on an over. Understand, this was on a show I did for years, so the "look" was well established. It's all so situational, you really can't point to one answer. As a boom operator, I felt entirely responsible for the quality of our sound as well as the perception of our department. To pull some of the things I did, like pushing frame lines, needs to be done in the right way, else you will alienate the very people with whom you work the closest. Anyone who says you must disregard everyone else and listen to you mixer is, in my opinion, dead wrong. Unless, of course, you are a novice boom operator. The experts know everything about how to do the job without being told.

good advice

Will the Deva provide sample rate conversion for the QRX, which only deliver 32k?

I don't know who had the dweddle tone remote first, but I do remember having it with the Goldline series of zaxcom transmitters. This was back in the PocketPC days, before the first iPhone.

Congratulations! 100+ on any show is a great accomplishment, but on a musical? Well done to you and your team!

I did Batman & Robin, which is probably worse than just about any two other films I can think of.