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Found 15 results

  1. A little note on running the set. Set belongs to the boom operator. It's their domain. When I place a mic they notify operators, set dressing and/or props at the right times. Boom operators of note keep the boom mic away from the mouths. They protect everyone, including me by being conscious of where the mic is pointed 100% of the time. They know who to ask for what and where these people are all the time: operators, set dressers, on-set props, AD, the sound-friendly electric / grip. What else?
  2. Hello everyone, My name is Thijs and I'm currently studying a film school in the Netherlands called Mediacollege. My dreams are to study sound on the Film academy in Amsterdam but i have to finish my last year here. After the summer i am allowed to do internships in other countries and my question was: How does that generally work. if there are people with experience on here. Ive got a lot of set expierience by doing a dutch TV series and a lot of student film sets, But i still want to expand my expertise and work half a year with a professional for my internship next school year. Any tips would be helpfull! and i love to hear your own experiences with internship. Yours sincerely, Thijs
  3. Hey everyone, My name is Tim Camey and I have just moved to the Atlanta area and am really looking forward to working in the production audio world. I graduated from SCAD in 2015 with a BFA in Sound Design and a focus in production audio and game sound design. I have spent the better part of the last three years working in my hometown of Springfield, Missouri as a cassette mastering engineer at the National Audio Company. Now that I have some savings under my belt and some starter equipment I am looking to start working as a sound utility or as a boom op as soon as I can so that I can become a part of the Atlanta film making community! Feel free to check out my website, PM me on here or email me if you need any help! www.timcamey.com tcamey20@gmail.com
  4. Would love to find a project starting after March 30th. I have not done much networking over the years as I have stayed pretty busy. So, i hear " I always think you are busy" from a lot of people. I'm taking this opportunity to maybe meet some new people or re connect with some old friends. This is my IMDB --http://www.imdb.com/name/nm0183304/reference for reference. I live and work in LA but of course have worked through out the US and many other countries and am free and love to travel. Looking forward to any responses.
  5. I'm in Edmonton, Alberta, and I'm available for work. I'm a boom op and a mixer, usually doing run-and-gun on microbudget films. I'll be busy on a feature for the last half of April, but I'm mostly open until then. I'm hoping I can pick up some work from this forum. Here's my website: www.gallinger.audio
  6. Hello all! My name is John Harton and I'm a recently graduated Sound Design student from the Savannah College of Art and Design. My wife and I are moving up to Atlanta after I get back from a gig in CA in about three weeks and I wanted to put myself up if anyone needs a boom operator or utility. I'm looking to ultimately get into narrative work and also recently wrapped my first feature as a boom op ("Christine" which shot in Savannah). I'll be at the ATL sound mixer mixer at the end of the month, but if anyone has work they need help with or have to pass up, I'd appreciate any and all the help I can get! Can't wait to get involved in the Atlanta sound community, from what I hear the sound crews of middle Georgia rock a mic like none other! Feel free to PM or call at 970-two three two- 6840 . Cheers!
  7. Hey Guys, Curious what people are using for your boom operators to listen on. Comtek? Lectro IFB? Zaxcom IFB? Hard wired? (duplex cable?) Boom box? Or maybe listen off the signal pre-recorder with a SD MM1?
  8. Hello all, I recently discovered this forum and am learning new techniques/knowledge each time I log on and read. I wanted to reach out and ask for any advice anyone can lend? I'm based out of Austin, Texas and have primarily worked on shorts, several independent feature films, a couple of feature documentaries and am looking to take that next step up the metaphorical job pole that is the film industry. I'm a hard, disciplined worker who is always willing to learn new and innovative ways to capture the best audio possible. If anyone in the Austin/Central Texas area is in need of a boom operator or a sound assistant, I would greatly appreciate any and all who reach out to contact me. Thanks!
  9. Hello all, I am an Orlando sound mixer and have been working in Florida since 1995. I have recently upgraded my ENG package to a Zaxcom Nomad 10 package. I have a pretty decent package to accommodate a wide variety of productions. Pretty much trying to network any work so I can pay for all the money I spent on it. I work great with any kind of crew and I have many people in the Orlando market that can vouch for my work experience and work ethic. Would love to work outside of Florida as well, if the stars align right (It's difficult to do jobs outside of Florida when they want to pay as a local. But, how do the other guys do it?). I'm also open to work with another sound mixer as boom operator. It's actually my favorite thing when it comes to major jobs like commercials. Alex Ginzo 321-202-0676
  10. Just curious, how many Mixers wish for their booms to go for the mouth and how many want to go for the chest? Let me know your thoughts!'
  11. Hi my name is Cynthia Harris and I am a Junior at the Savannah College of Art & Design where I study Sound. I am currently home, in the CT/NY area for winter break. I will be in the area from November until January and I am currently looking to gain experience from professionals in the field. If anyone would be willing to let me shadow them or even earn a little money doing sound utility that would be great! If you are searching for another sound crew member or just need some extra help from an intern please contact me. I will be glad to learn from professionals and get experience. I have boom operated on plenty of senior films at my college and would love to get some advise and share my resume with you. I am looking to shadow, intern, or work. Thank you, Cynthia Harris
  12. Hi, My name is Pete Smith and I'm an experienced sound recordist and boom operator based in Scotland. Please dont hesitate to give me a shout on 07732283081 or email me at petesoundrecordist@gmail.com. I specialise in natural history and documentary but have done all sorts of work in the past. All the best, Pete web: http://www.thesoundspace.co.uk mob: 07732283081 home: 01314665098
  13. Hi mates, I am Daniele, an Italian sound recordist and , if it is not a problem, I would ask you some advices: I would like to work abroad just to do some difference experience and to improve my knowledge seeing how other people work. Do you have any advices to give me? For me, 2 or 3 mouths of working experience will be enough. Obviously if I should stay more than 2/3 mouths abroad for job, for me is not a problem. I am ready to do cable man, boom operator in a set to learn how is this work abroad and also to improve my english. I am looking for jobs on mandy.com but nobody answered to me. In attachment you will find my C.V.. If you listen that some Sound Mixer is looking for a cable man or a boom operator, I am ready to come and start to work. I hope in a your answer. Thanks a lot bye Daniele cv_turi_daniele_eng.pdf
  14. I have recently been running into a situation that I wanted to discuss with all of you. More and more I am getting calls from production saying that they, "Don't have a boom op in the budget." The last of these was a union spot for a large local hospital. Just today, I got a call from a production company wanting to do a spot for a major microphone manufacturer and was told the same thing. I find this an affront to our craft and a sign of ever lowering respect for what the sound department does as well as a general lack of understanding as to what a boom op must do. I know we have all run into the productions that think they can just "hire a PA to boom" and have enjoyed the disastrous results. The other problem is that production seems not to understand that the tasks of the sound mixer involve more than just "sitting there". It involves prepping slates, delivering and maintaining Comteks for clients during the shoot, writing sound reports, and so forth. So, I am writing to start a discussion about this trend and see how people are dealing with it in different markets. Now, to me, it seems that an ENG or reality show shoot would be the exceptions to the need for a boom op by the nature of the shoot. But, to be hired to shoot a national union commercial and be told that I won't have a boom op seems ludicrous. It seems a little late in the game to blame the economy for this sudden "shortage" of cash. It seems like the same old "shortage" we are always dealing with dressed up in different clothes. While I realize that there can never be a hard and fast rule, I wonder, why does the camera department still get an AC? Can't the DP just pull focus himself? Why do they get a DIT? Can't a PA be paid to dump footage to a hard drive? There is no shortage of office PA's, either. Hmmm. If you want to know where it is heading, I just got a call today where they wanted me to do playback for a mock heavy metal band, record background walla, and a principal talent delivering lines, but they don't want to pay for a boom op or a separate playback person. While it may be possible to do all this by myself, I have a funny feeling no one will remember the budget savings when we need a moment to stop everything so I can switch over to playback mode from live recording or vice versa. No one will blame production if the audio is bad because I needed a boom op and was not provided with one. What are your thoughts? Am I being unreasonable? Unrealistic? Am I just being a baby and need to swallow my pride and go ENG style for any shoot that requests it while the DP sends the 2nd AC for another iced coffee? Thanks for reading, Matt Hamilton
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