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Found 6 results

  1. I chat to Simon Hayes about Greensleeve, an answer to multiple booms on sets with a green sleeve that allows the boom to be closer without the worry of foreground actors and physical props.
  2. Hi all... I've been re-visiting the Halloween series after the new 15-disc Blu Ray set came out recently, and now after watching some of these films for the first time in years (and probably the first since I became a professional filmmaker) I'm struck by the excellence of much of the original production sound. I see Thomas Causey (mixer) and Joseph Brennan (boom) worked on the first three films of the series and are retired now. Does anyone here know them? Related with them much around the time these films were produced, and can shed some light on their work habits? I was particularly impressed with a deleted scene from the first Halloween in which Jamie Lee Curtis and P.J. Soles exchange dialogue while looking out a window. Both actresses are facing the window, which means their mouths are just inches away from a flat wall, and the shot (like many in the first Halloween) is very wide to the point where some of the ceiling is visible. Both actresses sound spot on in the pattern of the microphone, and it doesn't appear to be ADR. I imagine radio mics at this time were sketchy at best and probably mostly utilized for complex walk + talks, but it looks like a very difficult scene to boom. Apparently it was a practical location where flying in over a wall wasn't possible either. If anyone has some stories about this sound team I'd love to read them!
  3. Was wondering if you guys do exercise or do you eat different when you going on a job. Set crafty isn't the most healthy of foods but was wondering if anyone does aerobic or cardio stuff too, espcially for booming because it's so psychically demanding. I wear a back brace when I'm one man banding as well. Personally I try to run when I can, and doing some ab exercises. I also don't drink soda, coffee, or energy drinks on set. (sometimes I break this for those over nights, ugh) What does everyone else do?
  4. Hello! I've posted a few times before on questions regarding booming, and damping a set, and recently had another thought that I would like to discuss with more experienced people. I recently looked up some portable booths popularly used for song in less than ideal locations, such as the ones in the pictures, and started to think about if you couldn't make something similar for location sound. So, my question is if it wouldn't be possible to take damping material and for instance make a sort of blimp of it - or maybe just put it around an actual blimp - open at the front. This would of course increase the weight quite a lot, but it would probably still be ok for short close takes, or of course for putting on a stand. If I could I would test it myself just to find out, but I don't have the possibility at the moment. So, does anyone see an obvious flaw of something like this, other than weight? Maybe it wouldn't make much difference, or maybe interfere with how certain mics cancel out sound from the sides and rear?
  5. This is a situation I've come across now and then, that I've always been a bit unsure about. If you are booming two people having a discussion in a shot, sometimes you are able to get closer to one than the other - they might have different distances to the camera, one is significantly taller than the other, or maybe one is standing while the other is sitting down. In cases such as this, should you still get as close as you can for each position, and let post deal with differences in level, tonality, BG etc, or should you try to keep an equal distance from them to make things more balanced? Thanks in advance!
  6. I've been using K-tek for some time now, but wanted to know of any other boom poles that would be able to extend 12ft. and over, be lightweight and have low/no noise with an internal coiled cable. Any suggestions? Thanks, Steve
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