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Found 16 results

  1. Hey there! I'm a recently graduated 28-year old soundie from Helsinki, Finland. Did my bachelor's at Tampere University of Applied Sciences, the degree programme in Film and Television. Guess what I specialized in? I started doing odd audio jobs in the local industry while studying, and at graduation I already have experience from a feature film and a 10 part drama series in addition to some ads and corporate stuff. I have a 633 and some mics of my own, and I'm working on getting wireless gear. I speak and write pretty good English and I keep an international circle of friends, so I'll get along with people from outside Finland just fine. I'm very solution oriented, and I don't like complaining. I'm still young enough to believe that a way can be found most of the time, and I'll pursue it to the full extent the schedule allows me to. I'm a recovering perfectionist, I'll settle for "good enough", but I won't love it. I can definitely deal with the local weather. I own ice fishing overalls that are rated for the actual arctic, no joke. When I'm not working, looking for work or thinking about upgrading my gear, I mess around with modular synths, sing/scream in a band, play video games, read books, pet cats and consume entertainment with my girlfriend. Currently my schedule is pretty open except for a 24.11.-01.12., I'm doing a stint as a boom op on a daily series that has gone on forever up here. I'm very interested in narrative work, but I'll do anything that keeps me fed and buying new gear. Feel free to hit me up even if you need any info on stuff local to Finland, always happy to help a fellow soundie!
  2. Toronto Based Sound Recordist/Boom Op looking for work. I have 3 years of experience ranging from Features/Shorts, Web and Commercial content. I am willing to travel and I also have my own gear, which can be found in the link to my website below. http://www.amsoundservices.com/ IMDb Page: http://www.imdb.com/name/nm7444726/
  3. Looking for an experienced boom op for most likely one day of filming in a house. Doc style filming in a living room of a birth. Must have good sense of frame line as camera will be moving. Date in between Dec 1-10 email sound with seth at gmail directly please. Working out if they can afford rate to block out dates for one person, or if we get a few names and see who is available when the labor starts.
  4. 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?
  5. I'm a Boom Op new to Los Angeles and need opportunities to meet new mixers and work with new people. I am just about to join the union out here and things have been slow lately because I haven't met many mixers. Let me know if you are in need of a boom or an A2.
  6. TV Movie- ASA rates, Housing, PD , Travel. The closer the better. Home just in time for Xmas with money in your pocket. Please send resumes or IMDB link. Thanks!! Geoff Maxwell gmax@earthlink.net
  7. I'm interested on everyone's take on this. I'm currently working on a doco with a pretty green director outside the US. Last night we did a long take during a dinner with the key person and some friends. We shot for about 2h20m without stopping. It's the longest I've ever had to boom without a break. To be fair the camera man suffered more as it was all handheld on f55. I didn't really notice anything at the time but today I really feel it. I've done plenty of reality and doco work before and most directors will give the crew a rest after 30-45min even if it's just a few minutes. Of course I didn't complain as I would have felt bad as the camera man was not saying anything (although I could sense he thought it was a bit unreasonable) and I wasn't suffering too bad at the time. Also, I was able to set my bag down off camera so I was only holding the boom. Thoughts?
  8. ROOT Sports Northwest & Seahawks All Access are looking to hire local boom operators, with equipment, for Seahawks road dates this season. We are interested in obtaining a quote for your services & equipment rental. The shoot is for a TV show called Seahawks All Access. You would be working with an ENG photographer who will supply you with a Lectrosonics transmitter to provide a "one way" wireless hop from your boom kit to the camera for a single system shoot with our Sony PDW-700 being the recorder. The gig is documenting pregame team activities, bench/sideline sound in game, and post game podium/locker room sound. There is a bit of run and gun hustle during the pregame, so mobility is key. Official credentials and parking will be coordinated and provided. Equipment requirements: 1 x Boom pole (12’ or longer) Because of certain sideline restrictions this is the shortest pole required (longer the better). 1 x Shotgun Microphone (Sennheiser 416 or equal) w/ shock-mount and wind protection. 1 x Microphone Pre-amp or field mixer with phantom power, at least 1 XLR line output and Headphone output for monitoring. 1 x Headphones 2 x XLR cable for Microphone and Wireless Transmitter connection. (ROOT Sports will provide connectivity for your output cable to our RF TX) **Please travel an extra XLR or breakout cable (minimum 25’) for a backup in case wireless signal is compromised in any way, a source to power your equipment, and rain gear in case of inclement weather. Here are the dates/times for the 2014 Seahawks road schedule (ALL TIMES PST): Sept. 14 @ San Diego 1pm Kickoff / 10am Call Oct. 6 @ Washington DC 5:30pm Kickoff / 2:30pm Call Oct. 19 @ Saint Louis 10am Kickoff / 7am Call Oct. 26 @ Carolina 10am Kickoff / 7am Call Nov. 16 @ Kansas City 10am Kickoff / 7am Call Nov. 27 @ San Francisco 5:30pm Kickoff / 2:30pm Call Dec. 7 @ Philadelphia 1:00pm Kickoff / 10am Call Dec. 21 @ Arizona 5:30pm Kickoff / 2:30pm Call Please PM if you are interested and available. I will supply more information as we move forward. Thank you, Andrew 2014 Seahawks RS Schedule.pdf
  9. To all LA Sound Mixers, My name is Thomas Snodgrass and I'm trying to break into the location sound biz I've been doing small freelance gigs here and there while working full time in a restaurant. I own a 633, MKH-50 and 60 but rent all of my wireless etc for my gigs. If you ever need a good boom op or utility I'd love to be added to your list. I have an audio engineering degree and years of experience with all types of audio equipment. Also, if you ever just need a little "pro bono" help or are willing to let someone tag along and pick your brain, I'd love the opportunity. Thanks! -Thomas-
  10. I'm going to be mixing a small independent narrative feature in Iceland for the whole month of June 2014. I'm looking for a good local boom op with narrative experience to help out on some or all of the dates we will be shooting. Budget is somewhat limited but I'll make sure we get you as much pay as we can for as many days as we can afford. Owning a good wireless boom Tx/Rx is a plus and we can pay more for that as well. Referrals welcome. Cheers, Shawn
  11. 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!'
  12. Hello, I am an experienced broadcast A1 and A2, and am looking to expand my skillset into the world of location sound mixing and recording. I am looking for any utility or boom work in the Bay Area, and am willing to work/learn for free under the right mixer. If anyone has the need, or knows a good place to start, please let me know. Thanks!
  13. I've been looking for a Sound Rental House In the Dalla-Forth Worth area to either work as an intern or with an apprenticeship. I truly would like to learn all about the sound equipment for film/tv. I ultimately want to become a knowledgeable Sound Gal. Any feedback would be beneficial. Thanks
  14. Hello All, My name is David "lion" Thompson. I have been working as a boom op for 5 years now in the Minneapolis/St. Paul area. I've worked with several mixers in that time even one I see who posts on this forum regularily, Mathew Freed. There has never really been much work for someone who is strictly a boom op in the minnapolis area and this year has been extra bad for me. So I'm trying to reach out and meet some new mixers who may be in need of a new or fill in boom op. I'm willing and able to travel. I'm a hard worker a good listener and love to learn so any advice or opportunities would be greatly appreciated. I've attached my resume. If anyone has questions or would like references I can supply those as well. http://www.imdb.com/name/nm2723111/ Thank you for taking the time to read my post. David "Lion" Thompson David Thompson Resume.pdf
  15. 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
  16. I'm in need of a boom op to help on the AICP/IFP/MN Film board shoot this Friday, Sept 30th. 5pm call, 1am wrap. It's a pro-bono gig (entire cast and crew is), though there is catered crafty and a ticket to the AICP show in Oct. PM for details. Joel
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