Jump to content

Search the Community

Showing results for tags 'boom'.

  • Search By Tags

    Type tags separated by commas.
  • Search By Author

Content Type


Forums

  • Main Board
    • Current
    • The Daily Journal
    • General Discussion
    • Equipment
    • Cameras... love them, hate them
    • Recording Direct to Computer
    • Workflow
    • The Post Place
    • Images of Interest
    • Macs... and the other computer
    • All Things Apple
    • Technical Reference
    • Do It Yourself
    • Manufacturers & Dealers
    • Work Available - Available for Work
    • Post to the Host
  • JWSOUND RESOURCE
    • Donate to Support JWSOUNDGROUP

Find results in...

Find results that contain...


Date Created

  • Start

    End


Last Updated

  • Start

    End


Filter by number of...

Joined

  • Start

    End


Group


AIM


MSN


Website URL


ICQ


Yahoo


Jabber


Skype


Location


Interests


About

  1. Captain Chris Wade and the SeaWatch SharkBoat is about to leave US waters on a mission to save sharks in Costa Rica's beautiful Isla de Cocos with a crew of 10 and boat full of GoPros, Canon 5D's, DSLR's and Final Cut, ProLine, etc... Every moment of every day will be documented. On the Boat (handheld and fixed), In the water (drones and diving), in the air (drones). This is a self funded production in conjunction with The Shark Research Institute and SharkBoat.org. Does anyone have any suggestions as to individuals seeking a write-off to a 501c3 for 2014 in exchange for some used/unneeded gear (Booms, Wireless, Mixer, etc...) that could be donated for this amazing project. Or a sound person/ DIT looking to come to Costa Rica for 6 months on an unforgettable journey that is assured to capture content that no one has ever seen before. "The Pirates of the Pacific" are about to enter "Blood Waters" and could use your advice!
  2. Hi All, I found this new camera support device , the Rodcam to be very interesting. Kind of like a boom with extreme reach. I wonder if it would have any use for flying a mic in large sets and spaces... who knows? Anyhow, enjoy the video demo on this page : http://www.youtube.com/watch?v=ly7VwaGYNsY Cheers Everyone, Dave
  3. Hi everyone, around the beginning of the year I stumbled across some video of an upcoming product from a new manufacturer. A cable clamp that was mounted on the boom with tight rubber bands. I cannot find the video anymore or recall the product name or maufacurer. Does this ring a bell to someone? Thnx Disclaimer: I know it depends ;-)
  4. I've been a boom operator for only a couple of years, and I aim to continue doing this for some time. However, I am concerned about potential future back problems. I obviously stretch before shoots, excercise proper posture (no leaning) and have an extensive collection of muscle-soothing ointments. I was wondering if anyone could suggest techniques and equipment for taking the strain of operating off your mucles, as well as any excercises that may help to improve your necessary "booming" muscles. Cheers.
  5. Hello, Everyone!!! My name is Scott Harnell and I'm in the beginning stages of a career in production sound for film and television. I've been doing my homework (read Location Audio Simplified and Location Sound Bible, as well as lots of posts on the JWSound forums) and have started slowly putting together my kit. Now, I'd really like to gather first-hand experience from a seasoned professional. So far, I've worked on two professional gigs. The first was the official webcast of the Formula Drift event at Road Atlanta last year and the second was a documentary on the Atlanta Police Department's first sketch artist. At the Formula Drift event, I helped load and unload all of the gear, ran and gathered cable, placed spot mics for tire and engine noise, and was essentially a PA and sound utility in one. My experience on the documentary had me sitting solo at the sound helm, wiring the subject with a lav, and mixing. If you'd like some help, I'd love to assist you on any of your future projects in any way possible. I'd be willing to load and unload gear, get your coffee, check your batteries, wrangle your cables, or just be a gofer. If presented with the opportunity, I'd be most professional, invisible/silent, and make it a point to never be in the way, seeking only to facilitate a smooth and efficient shoot. If you could use some help, or would want to get some coffee or lunch to see if you'd be interested, please feel free to reach me at 404-218-3155 or scottharnell@gmail.com. Thanks in advance!
  6. Hello, I have posted a similar topic on this forum before but got no response. Hoping for a different result this time. I am a young broadcast mixer/a2 who is looking to learn the art of location mixing and recording. I have been getting a steady flow of reality and corporate gigs, but if I had the opportunity to do a job with more than a few lavs I would not be prepared. I am hoping to find an experienced mixer in the Bay Area to show me the ropes. I'd love to stop by a set and 2nd or 3rd for a day, but even an email dialogue with a successful local mixer would be awesome. Any and all help is appreciated! Thanks.
  7. 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!'
  8. Hi all! If you are looking to fill any position in the sound department for any production in NYC or nearby, look no further! I'm available to work as a mixer, boom op, or third. I graduated from NYU with a degree in Music Tech, taking many classes in film production and film sound, as well as working in over 20+ student films mostly as a mixer or boom op. While at NYU, I was mentored by production sound mixer Chat Gunter. I now have a few years of experience in production sound under my belt, and before that, many more in music recording as a recording and mixing engineer. If in need of equipment rental, I own a nice kit, including Sound Devices 302 Mixer, Zaxcom Nomad 10 Mixer/Recorder, Sennheiser MKH 416 shotgun mic, pair of AKG Blueline modular microphones, and Sennheiser wireless. I have superb work ethic, which some have claimed to be second to none! Looking forward to meeting and working with you!
  9. Munich, Germany 4th of April 2013 Ambient Recording goes Premium with the all new QS boompole For more than 20 years Ambient Recording has produced professional carbon fiber boompoles. The tubes used for our products are not off the shelf items but specially manufactured to our own specification using upscale yet still affordable Hi-Q modulus carbon fibers. This high quality soon made Ambient the leading manufacturer for professional booms in many parts of the world. Now we wanted to go one step beyond and construct our masterpiece. The QS boompole is handmade out of Pre-preg carbon. This is an extremely time-consuming way of production but it gives us the possibility to design the tube characteristics layer by layer. Our aim was to create a boom so stiff, lightweight and well balanced that the boom op can control his microphone like a surgeon controls his scalpel but from an 18 feet distance! Besides the tubing we refashioned the screw locks for better grip when working with gloves. The result we achieved is nothing less than the stiffest, most precise boom on the market that can truly be called the best pole we ever built. Facts - Weight: 37 oz - Length: 5.1' collapsed to 17.7' extended (with optional QP 120 up to 22') - Availability: Shipping starts 15th of May See you at NAB booth C2059 and C3027
  10. I've been passing some time going through gag reels from different TV shows and films and found this pretty funny boom that drops in shot and hit's one of the actors, apparently bird hit the poor operator I imagine on his face otherwise probably wouldn't have dropped like that but still had a good laugh. http://youtu.be/LlWzSYyqKps [starts at 2:12]
  11. I find myself in situations where I have to interview people for documentaries within their environments. Which often have a lot of noises. Traffic, air conditioners, strong weather sounds - snow storms, rain, wind. Or are quite reflective. I have found that I have mostly gotten the best results using lavs, my guess is because the signal to noise ratio is good. However, I have only hired them, and I don't want to buy them because I really don't like the sound the produce at all. Plus the hassle of attaching them to people and the lack of speed associated with that. Another technique I am considering is to capture establishing shots with a boom mic, and then switching to something like a neumann tlm 102 to record the rest of the interview off camera. Do you have any techniques or equipment recommendations for me? In the documentary, lightweight, non scripted environment. I appreciate your thoughts.
  12. Hi everybody who has opened this link! I am a Sound Recordist and by that I mean I have a 442, 744t combo, cs3e, ntg3, 2x G3s and a bunch of other little bits. I have done 30+ short films as a recordist, a couple indi features as a recordist and a few as a boomie! I work in Australia and dream to be either a boom operator (full time) or a major sound mixer in my later years in that order :-) I get a lot of great sound on sets with my kit but I have been reading a lot of posts on this site and I hear a lot about these amazing carts that a lot of you guy and gals rock out and on top of a lot of jealousy :-) I have a big interest in what is needed to be done to get to that kind of level. I know that the Aussie industry isn't really catered for that kind of work but before I assume to much I was wondering what you all thought. So the big question is for an Aussie up and coming soundie what would you people recommend I ? Is there a real market here for it? Should I spend some time at the schools here? Or anything of that caliber? Or should I keep on this road keep working short films and some occasional features in hope that skill and luck find me and give me the opportunity to really shine? Would love to hear what you all think! Cheers, Piotr PS. Tried looking this up on the site and I didn't come up with anything might not have looked hard enough
  13. Hi All, I am wondering how the KM150 would fare as a boom mic. It would allow my Oktava Mk012 to retire from boom duties (aka handling noise duties). Has anyone used the KM150 for booming? I'd love to hear experiences or thoughts. Thanks.
  14. Hi there! If anyone here in the Greater LA area needs a boom operator or a utility guy, my hands/skills are available for the foreseeable future. I also have my own humble mixing gear and experiences, but I'm still building towards what producers usually demand. But I want to be back on set, connecting with more experienced sound ops to learn more about our department, this profession, and the industry as a whole. As a boom operator, I'm a tall and slim guy, so getting above and out of frame is no problem. As a utility, I'm learning new ways to quickly wire, wrangle, and coordinate equipment every day. In short - if you're looking for an eager, experience-hungry sound assistant in the LA area, please drop me a line anytime. PM me or check out my website for a full list of credits, equipment, and demos. Thanks! Matt Brodnick Web: bit.ly/mbsound Resume
  15. Hi all, I know this is a total shot in the dark, but I figured posting is better than not posting! I'm a college student from Upstate NY (Ithaca College Park School of Communications) looking for some summer film work in NYC. I'm currently interning for Technicolor PostWorks during the week, but I'm available for weekend shoots in the NYC area. I've got a shotgun mic (Sennheiser ME-80) and a K-tek boom pole. I'd be more than willing to rent those pieces of gear out, as well, if anyone's interested. Also, I'm an aspiring re-recording mixer (who isn't), so if anyone has projects that are looking for some post-production sound work, I'm your guy! My resume is available on request. I've worked on RED shoots as well as 16mm shoots, and I know how to boom correctly, blah blah blah. I know you've heard it all before, so I won't go into any more specifics. If someone has a lead, please let me know! I'm a team oriented kind of guy, and work best when I'm surrounded by people that are as passionate as I am about film. On another note, jwsoundgroup.net rocks, doesn't it??? Such a valuable resource for us guys who are trying to break into the wonderful world of sound for film.
  16. I'm directing my first feature in late Dec/early Jan, and still looking for the right person to handle sound. The ideal candidate should be Brooklyn/NYC-based and have his/her own gear. Though we're shooting on a relatively minimal budget, I've set aside a decent amount of money for sound. Send a list of your past projects w/links and an equipment list if you want to be considered for this project: derick@fstopimages.com Thanks, Derick
  17. As you may know, Ambient changed the design of their QP line of boom poles last year from matte black coated carbon fiber to a shiny weave of carbon fiber. Since buying a new QP-4140 last year, I've run into a couple of problems with it reflecting bright light sources that hit it directly. Normally you can cross a bright light source as long as it doesn't cast a shadow into frame or change the light level but the new design reflects light so this isn't always possible. In the attached pictures, there was a Source 4 to my right firing into the cabinet on the left and I was booming someone under it. If I were to barely break the beam of light, a ring of light reflected off the surface of the boom into the room which was very noticeable (pictured). I called Ambient in Germany, asked numerous people on set, other fellow boom slingers and even posted in the jwsound Facebook group asking for ideas on how I can dull the surface of the boom but thought I'd try here too. Suggestions ranged from trying to sand the boom with 600 grain (after a lot of sanding with many pieces of sandpaper it took the shiny finish off it but the weave still reflects) and sanding it with #0000 steel wool (if it did anything, I couldn't see it) to the ridiculous such as wrapping it in paper tape. If you have any thoughts or experience with such things, I'd appreciate the input. I'm hoping the solution isn't to pay to have it professionally matte painted with a non-chipping coating or something (if there is such a thing that would work) but I'll take the time to try a solution if might help. Obviously, I'm trying to not destroy the pole. Thanks, in advance, for your input.
  18. Well maintained ENG audio kit for sale. Comes in a round Petrol case. includes: Petrol hard boom case, Shure PF33a mixer, 6’6” VDB boom pole with Ktek shock mount, 2 x 195D diversity systems in block 21, 2 x PSC milimics with all the clips and two power supplies for hard wiring, 1x barely used Varizoom S-8056N li-ion battery pack (NP-1 equivalent) with power system to power the mixer and the two 195D wireless receivers, the varizoom dual charger, a great snake with quick release, a couple of 25 feet XLR cables, the standard Sony headphones, the Sennheiser ME66 shotgun mic with windscreen and rycote fuzzy and a carrying strap. Email with any questions. Thanks, Yahel www.yahelherzog.com
×
×
  • Create New...