Ian Thomson

G’day, My name is Ian - I’m an Australian boom op who’s living on the east coast of Canada. I’m travelling with my wife to Boston this week, and while she attends her conference I’ll be checking out the town. Does anyone have any recommendations on “must-do’s” when in Boston? Is anyone on the group filming, and up for a set-visit? cheers’ thompsound@gmail.com

I think Jason brings up a very important point... it pretty much boils down to: are you invoicing (and being paid by) an Australian company? or a Canadian one? All your requirements will be based on that. if you're on a "Work Holiday" and being paid by a canadian company it could be very tricky accounting wise. if you're working on an australian show (for accounting purposes) then it'll be very much like you're back in melbourne. I'll echo the other advice here and say - talk with the producer, and/or production accountant. best of luck mate. Ian

My vote. Trading the weight of internally cabled for the weight of a plug-on transmitter, eliminating the hassle of unwrapping an external cable, absolutely zero chance of cable slap inside the pole. I don't think I'd be able to do my job properly if we needed to deal with cables, as I'll sometimes need to swap to the "other side" of our cameras even during a shot, and being able to collapse the pole, pop it into a stand and walk away (without removing a belt-mounted wireless system) to quickly deal with a noisy body-mic is very much appreciated by cast/AD's (super fast "semi-scripted" comedy series with 4-8 talkers and at least two cameras). Everyone has their individual ways of doing the job, and I prefer as few cables as possible.

I enjoy the challenges of booming more than the detailed listening and fader-sliding of a mixer; hopefully I'll be able to continue to boom as my body ages less than gracefully Ian P.S. - a Boom Op having done some kind of mixing, will allow for greater empathy with those who choose to shoulder the weight of responsibility for the on-set sound. (hey, how come you can't magically mix those 12 radios/boom/plants I set up?) and a mixer likely has a greater appreciation for dealing with the BS from other departments if they've spent some time on-set, booming.

feels quite nice when the director chews-out a cam-op if they choose to "frame-up" the boom due to another issue (framing/focus). in my particular case, I was willing to fall on my sword if asked; but when the op tilted up, then announced "boom in!" he kinda screwed himself...

Nice video mate, love the point of view. Mine isn't a video, and I may have already posted this shot before... point and shoot camera and a (mini-table-top) tripod rigged to the pole Ian

ok, been holding on to this one for a while... very beginning of my career, 1st day "real" booming on a "real" TV show. (2nd unit shooting 8 pages of dialog). Mixer has an MKH 50 set up in the zeplin so that the shortest end is at the business end (opposite to usual configuration with a shotgun), and has constantly reminded me to make a note of this mic being set up this way. we shoot a few takes, all is good (2 cameras, Wide-ish and some mids, but definitely boomable, so there aren't too many radio mics out). quick re-set, I'm distracted and throw the pole out upside down... hmmm... why does everything sound quieter all of a sudden?... glance over at the mixer to see that priceless look of both confusion and fear, he's checking board settings, reception, everything on his end. I'm so green that I stupidly continue the scene (instead of dropping the mic into shot and getting another take). Director calls - Perfect, Cut, Print, Moving on... ...People do... ...mixer raises his concerns with AD, who confers with Director, Grips have already broken down the dolly, were moving onto next set-up, Director goes to mixer to listen to the recording on DAT... a full 5 minute discussion later and we're re-setting for the previous 4 minute take. no one is finger pointing, but it's clear that everyone knows it wasn't "equipment malfunction" in the sound department.

Which unions down under? (it's like the wild wild west down here)

so the test was shot on a RED?

Yup, love the little perspective shift when people move. (not off-mic of course, but the ever-changing sound of the dialogue bouncing off set-pieces/walls/etc) thankfully, so do most of the mixers I work with as for digging out lines with head drops - I've always instinctively done what David's suggesting, to my ear it just sounds right. now as for a person close talking into a Wall or window...

Provincial Nomination Program - a way for provinces to bypass some of the federal gunk and nominate someone who will benefit their local area. has sub-groupings including Skilled worker, Community Identified... worth looking into if your province of choice is in need of your particular skill-set.

dark natural fibres (less noise and reflection possibilities) usually a pair of cargo pants (sides fit in the big pocket quite well) and a T-shirt comfortable thin soled shoes rain-jacket/pants and a quick change of clothes never too far away.

pole P.O.V. (testing out a pole mount for my camera) all the best from the aussie boom op in Halifax, Canada.

working on a "scripted" show at the moment; I regularly find myself fully-extended on a panamic 16ft Super-maxi, and would gladly use an additional few feet if possible. Some set-ups, it's time to break out the 2ft "fore-arm" boom, and squeeze under a desk/etc... For some reason I've always had a preference for using a "longer" pole than others (or so I've been told), as I felt it gave me a better view of the action, and more room to move (don't get too close to the camera ops). for docos and reality/ENG, I sometimes find the drama-length pole to be "in the way" even when fully collapsed, and would most likely be picking up yet another pole if I found those types of jobs becoming my future. all the best

Once had to kick-awake a cam op (his snoring interrupted the sit-down interview)... In his defense, the interviewee had a very soothing voice (null)