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The art of booming narrative films.


PLo128

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Very "decidedly direct" discussion... it's all good. What prompted me to start this thread was that I needed more opinions from pros on booming narrative (and I learned a lot here that I'm very thankful for--I will never keep the boom stationary again). I received no formal education in film sound, and it's a subject that I think most academic film schools completely neglect for some unknown reason--and yes, I'm very bitter about being $50,000 in debt and still learning how to properly mix location sound 6 years after graduating.

I've heard so many conflicting views on the subject of booming over the years that I felt baffled as to why what worked successfully for me in the past failed miserably now all of a sudden. And it's true that I usually operate as a OMB in indie land, and I've probably picked up a few bad habits from trying to both boom and mix at the same time.

But as time passed these past few days, and I've already been hired to be the mixer on an upcoming project (with a better rate AND budget for additional equipment rentals), I still argue that my firing has less to do with booming than it does general expectations of an assistant, and when it comes to non-union indie features, protocol seems to go out the window. I wasn't just in charge of booming; I was also laving actors, plugging and unplugging a 100' xlr to camera for a mono mix between setups, and having to scream and scare crew members to shut up because the AD's calls for "rolling" over the walkies were ineffective (we didn't have access to that nifty PSC bell and light system).

The mixer said from the beginning of the shoot that he wanted to rely mostly on the boom and getting sound in coverage since he only had a few wireless lavs of his own and production wasn't willing to rent more along with a recorder with more tracks. But then we'd do setups with more actors than we had lavs, and when the sound suffered in wide shots the boom couldn't grab, the producer's gauntlet would come down on the mixer. It felt to me that it needed to be more of a team effort to achieve what director/editor/producers wanted for their budget. But it was two people with very different experiences of recording sound not talking about how to go about the job. He isn't any more successful than I am--we are just two more people doing whatever we can with limited resources to try and gather union days while making a feasible living. I sincerely hope whoever he hired to replace me works out better for him. Maybe that assistant even has a Nomad 12 and a few more lavs he's willing to pony up for a total of $100/day

I envy you union guys and gals.

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...

I envy you union guys and gals.

Why?

You don't have to be union to charge a proper rate.

And, why would a boom op bring in a mixer/recorder and more lavs? And why would someone work for such low rates to begin with, which then screws other professional sound people by helping to lower rates overall?

Please see the following discussion of "Raise Your Rates and WIN":

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... He isn't any more successful than I am--

Like Tom said, one works for a LOT of assholes in the service. You don't have to like it, but you do have to do it. When our squad leader used to get drunk, he'd rant around the barracks with pride, "All my mens (sic) are squared away...any one of my mens (sic) can be squad leader...but I'm squad leader".

With all due respect, when you're on someone else's squad, you need to practice some humility; at the very least it will help you process the stress created by working for someone who you obviously think you're better than...start with that.

Best,

Steven

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" . I received no formal education in film sound, and it's a subject that I think most academic film schools completely neglect for some unknown reason--and yes, I'm very bitter about being $50,000 in debt and still learning how to properly mix location sound 6 years after graduating. "

Film schools do not typically train production sound mixers, in fact they very rarely do...

I teach at several schools, and it is usually the one single sound course the program offers, and so I work hard to teach these future moviemakers what they will need to know about sound, and production sound, so that they will understand and work with a professional production sound crew.

" I keep finding that there's no "one" way to mix a narrative feature, "

that is correct, and you will continue tokeep finding that there's no "one" way to mix a narrative feature,

" I still argue that my firing has less to do with booming than it does general expectations of an assistant, "

I think we all agree with that. and we have also covered what the expectations of the second person on a 2-person sound crew typically are...

" I wasn't just in charge of booming; I was also laving actors, plugging and unplugging a 100' xlr to camera for a mono mix between setups, and having to scream and scare crew members to shut up because the AD's calls for "rolling" over the walkies were ineffective (we didn't have access to that nifty PSC bell and light system). "

This is pretty normal on any two person crew.

" when it comes to non-union indie features, protocol seems to go out the window. "

well, yes, but not exactly what you mean. Quite often these folks haven't got a clue, and miss basics like blocking rehearsals, stand-in's, permits, insurance, payroll, script supervisors, etc.

" a team effort to achieve what director/editor/producers wanted for their budget. "

of course these no-lo bidget POS movies often have unreasonable expectations... this is being discussed all over jwsoundgroup, but I suspect you joined up only to discuss your issue, on which you are still being defensive.

" to try and gather union days "

and so it will most likely be the same if and when you join the union, and even more so!

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Or if two actors were talking I'd keep the boom stationary, evenly between them also knowing that they were laved on iso tracks. He'd bark, "You need to tilt the mic back and forth to capture the dialogue."

"Won't that screw with the ambient room tone when we hear the mic shifting positions back and forth?" I'd ask. "Or what if the actor decides to improv an extra line and my shifting captures her dialogue unevenly?"

Depends on who's facing camera. If off camera, as a mixer I would tell the boom op to only focus on the one character on camera. Some mixers want you to get both actors if possible by tilting the microphone back and forth, but not at the expense of the on camera dialogue.

I can relate to your situation, but you have to change your mentality entirely when booming. I have a completely different mindset when I mix from that of when I boom. Like most said, I have to do whatever the mixer needs me to do as a boom operator, regardless of what I think. And what I think can always be discussed later. There have been times where I've boomed for mixers and questioned them in my head, but it stays in my head.

I mix more often than I boom, so the key for me is always reminding myself that I'm not the head decision maker and I need to be careful about the politics. The last job I did I answered a question for the DP that the sound mixer should've answered. We were in a hypnotherapists office and he wanted to open the door and get the sunlight because it looked better. The DP asked me if sound would be screwed and I said yes. Then immediately after I said that if he established that the door was open in the shot, it would explain the sound of the outdoors in this office. I know that I was right, but it's not my call. I should've brought it to the mixer, and if he disagreed with me then tell him why I think it would hurt the sound. (we already shot another part of the scene with the door closed) No harm was done by this, but this is the exact situation that can get you into trouble. It's just remembering to take off the mixer hat when you're on set booming for another sound mixer.

Best,

Alexander

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I received no formal education in film sound, and it's a subject that I think most academic film schools completely neglect for some unknown reason--and yes, I'm very bitter about being $50,000 in debt and still learning how to properly mix location sound 6 years after graduating.

I know of no school that teaches the reality on what it's like to be on a real feature set and to be in charge of sound. They teach the basics up to a point, but I think the nitty-gritty boils down to mostly problem solving and people skills that can only be learned through experience.

I still argue that my firing has less to do with booming than it does general expectations of an assistant, and when it comes to non-union indie features, protocol seems to go out the window. I wasn't just in charge of booming; I was also laving actors, plugging and unplugging a 100' xlr to camera for a mono mix between setups, and having to scream and scare crew members to shut up because the AD's calls for "rolling" over the walkies were ineffective (we didn't have access to that nifty PSC bell and light system).

Unfortunately, you've pretty much described the job of a boom op on a small indie film. You are the voice of the sound department on the set, and (at least on the crews I work on) you are in charge of wiring up actors for lavs and telling the AD we need quiet. I'm not a fan of using a hard wire to camera, simply because I understand that this is an imposition on the camera crew; I've only done wireless hops for this reason, and even then, it's just a scratch track.

The mixer said from the beginning of the shoot that he wanted to rely mostly on the boom and getting sound in coverage since he only had a few wireless lavs of his own and production wasn't willing to rent more along with a recorder with more tracks. But then we'd do setups with more actors than we had lavs, and when the sound suffered in wide shots the boom couldn't grab, the producer's gauntlet would come down on the mixer. It felt to me that it needed to be more of a team effort to achieve what director/editor/producers wanted for their budget.

Again, bear in mind that it's possible to get the boom in on all speaking actors provided the director and AD block the scene and provide enough close-up coverage. If they're shooting simul wide and tight, shooting inadequate coverage, or making up shots on the fly, all bets are off.

It is true that more and more producers are expecting multitrack recorders and up to 7-8 lavs for even modest-budget productions, which may or may not be fair to the sound department (depending on the daily rate). The Senator has an often-used phrase about producers who need to lower their expectations, but that's a hard lesson to teach them. When they're informed, "the daily rental on 6 wireless alone is going to be over $400," they'll just counter, "well, the last $250/day guy threw those in for free." But that's another discussion.

Alexander's advice above is good. I have used (and continue to use) local friends of mine who mix and boom, and I have no shame in listening to their suggestions if there's an alternative to my mixing approach that I hadn't considered. I may veto it, but more often than not, we come up with a compromise that's better than anything either of us could do on our own. My philosophy is generally to give the client usable sound in every shot when possible, just to give editorial more options. In noisy locations, that probably will involve wireless lavs, but I still always, always record the boom just to give the dialogue editor and re-recording mixer the means to take the curse off the lavs.

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Me personally, I'm not as concerned so much where they put the boom as long as I like the way it sounds. I listen first and look second.

I like that point of view and agree. Sometimes I like to paint black and white and say that the mixer is the one who has to listen, whereas the boom op has to use his eyes more than his ears.

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I had to let a boom op go for the exact same reasons you mentioned in your first post. I got tired of going back/forth as to what I wanted done. I don't think he understood that I was his boss until the week after when I decided to hire someone else. One day I asked him to fix a lav he placed since it sounded scratchy. His response was " that's just the way it sounds, there's really not much that can be done". I just shook my head, walked over to the actor, and fixed what he thought couldn't be fixed. The guy was pulling me away from my duties and it was embarrassing having to go back/forth with him in front of the crew. So yes, you were fired for trying to be the commander when you are a soldier.

As Tom said though this would have been resolved over a beer at wrap time and not in front of the crew.

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I still remember my early days in a commercial recording studio. Your people skills can be even more important that

your technical knowledge and practical recording skills. I remember one day I had just explained part of that to an

intern when on the next session we had a wet behind the ears producer that just kept needing to "fix" things.

After a few minutes I slid down the mixer to an unused channel strip and made a few more "adjustments" for him.

He loved it then and I feared my intern wasn't going to make it out of the control room without laughing.

I wish I had paid more attention to psychology in college. Fortunately, early in my career, I recorded a number of

great workshops or conventions where I learned a lot about people and how they are "wired".

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Great thread.

I have a PDF that I compiled from a rec.audio.pro thread many years ago that touches on those "people skills" issues though more from the recording studio perspective. Whenever I get a mentorship or internship student(my day gig is running a studio at a college where I also perform various other sound duties including location sound, FOH/monitors, etc.), one of their first assignments is to read it(and explain to me why!). The read is spicy at times, but isn't that how things go.

Submitted for your reading pleasure...

ami.pdf

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  • 1 month later...

To PLo128: I work as a boom operator and your story strikes a chord with me. I sometimes think I will never find that perfect working relationship like the one I imagine JW and Don and others having, but I don't stop looking for it. I'm not much for the military model. I need to respect a mixer on my own terms not just because he sits in the chair. Holding to that ideal has led me away from a few mixers, but I've learned from every single mixer I've worked with.

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I have a PDF that I compiled from a rec.audio.pro thread many years ago that touches on those "people skills" issues though more from the recording studio perspective.

Wow, we forget how crazy things were on Usenet 12 years ago! Fletcher from Mercenary Sound was always a riot.

I agree, high on the priority list of anybody becoming an assistant (in production or post) is learning to keep their mouth shut, doing what they're told to do, show up early, leave late, and listen and learn 100% of the time. Having a positive attitude is a huge part of that.

I don't think this is necessarily part of booming narrative films, though, and is probably more in line with a general thread of how to break into the business and how to start as an assistant.

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I've recently been booming more for a sound mixer that I enjoy working with, but at a lower rate. He has a lot of knowledge, so when we're not busy I try to pick his brain and learn as much as I can. I've gotta say it's great! We've also been shooting on film so getting rehearsals has been quite a unique experience. I hope I don't get used to it though...

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  • 5 weeks later...

I would have loved to have had a boom-op/ asst. on the last SAG- lo budget. The producers gave me a rate for me & my gear but pulled the old "we're going to get a PA and train him to be your boom op" reluctantly agreeing (only because of the chance to work with veteran actor Lance Hedriksen) it came back to bite me. After the first week he would more time at craft service table talking about making films than making one. I talked to him several times to no avail. I even hired (out of my own pocket) my 17 yr old son for 2 weeks to boom. Wow what a difference even at 17 he had enough skills to impress above the line- of course he's grown up on commercial & film sets. They (producers) still kept the other guy on. I guess the thing that saved me is we multitracked lav'ing ea actor & booming. But never again.

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  • 1 year later...

Allen, Marc, and Graham, yes over a year after it was written: thank you

Your point on loosing that word "assistant" really resonates with me. Although there are different approaches for a film-maker to free up resources, covering dialog properly with a good second and hiring production assistants, although both add value, are not equivalent, nor do they need to be mutually exclusive allocations on a SAG, not-so-low budget.

 

I do think kids with student loans weighing on their backs really burdens them, not only with the pressure of paying it off, but also with the inability to "empty one's cup" (Lao Tzu) of their elite training. It costs me nothing additionally to listen to my colleagues and direction, and better still to really hear what my job is about. So it's a real shame to have worked hard to secure all those gigs, and yet to not embody a sense of curiosity and enjoyment when you finally earned it, being with good people, exercising your craft, doing something that has meaning for you. I believe this to be more objective than skepticism. This is not the context to be pre-occupied with unions, business, or even how you would do things better. The business decisions were already made, and you can always use a retrospective and feedback for the decisions to come. But for this moment, production is an exercise in direct experience.

 

If you need to echo the 1st AD, even this can be done with presence and common kindness. There's lessons to be learned everywhere-assertive and louder does not need to mean angrier. Use your tools, which if you've been shadowing an actor all day, can also mean learning about your voice. Nor does it mean if you are doing it correctly that you are over-claiming your position; you are acknowledging and executing what was asked of you.

 

What Alexander Burstein mentioned is also an interesting case scenario. I'm still thinking about. Decisions like that fall on so many things that other individuals are responsible for, continuity, what's been established, not to mention the accomplishment of our equivalent colleagues in other departments. It's not just the sound that changes when someone asks if they can open a door. If I can't even remember what was written on the last slate, I'd probably not claim to know the implications for the shooting schedule or post.

 

But if someone put me on the spot, I wonder if I too would have been enticed to give a quick answer at the best of my intelligence, rather than respond "let me ask." It's fun to know the answers, right? 

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PLO,

I know what it's like to be working in the low budget world but you seem to have a way to go to get yourself out of it.

You have an incorrect view of the job of the boom op and perhaps the mixers you are working for are somewhat at fault for not teaching you the right way.

My boom op does so much more than just hold a mic in front of actor's flapping lips. He keeps track of the slate and makes sure the camera assistants are on the same page. He's on the 2nd 2nd's ass if they have a sloppy lockup or are setting background that are needlessly making noise. He finds noisemakers during rehearsal and works with locations to get them off. I can go on But all of this stuff you need to learn by working and being with experienced folks.

Stop calling a boom op an assistant. You sound like a complete novice.

Just some thoughts.

Ben

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I may mention that at this moment my boom op is standing outside in 28 degree temperatures booming mostly Stunt SFX stuff that 2nd unit should be shooting freezing his butt off. As an ex boom man myself I appreciate my crew and the professionalism they bring to set every day. It's a team effort and you gotta be on the same page.

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If you are still only getting a $100 a day, you edit seriously think about your next move. It seems to me, you have stuck with this person for way too long. They obviously don't car about getting better work, that would allow both of you to get better money.

I know people who would rather be working on low budget "features" than better paying TV stuff, just so they can say they work on "Features". You need to start looking for a gig with better mixers.

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Booming doesn't make you a better sound mixer, but it does make you an overall better sound technician.  It's one of the most important jobs on the set.  It is THE most difficult position on set(aside from putting on the fire suit or cat wrangling), and it has to be done consistently well everyday.  Straightforward in its' definition: Mic Placement.  Yet, it carries immense responsibilities, takes ballet style hand & eye coordination and no one gives a flying 'U know what' how and why you do it.  PLo, it seems like you'll learn from this experience and understand that the job is much more.  A Boom Operator is politician, info. getter, SOB, ninja, scapegoat, fly on the wall, co-actor, trapeze artist, provocateur, negative fill, mixer translator, bullet-proof vest, breath-of-fresh-air, meal penalty causer, psychologist, "Hey Sound", reactionary, shadow maker, and at the end of the day, a very good microphone placer.  I know you've probably dealt with many of these situations as a OMB, but as The Boom Op you are expected to take orders from the sound mixer and carry those orders out.  Simple as that.  Especially when starting out( 6 years of "Booming" is very different from 6 years of "Mixing/Booming"), you'll need to be tested and in your case replaced.  Is it fair?  No, but no one said being a Boom Operator would be fair.

 

George

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henchman: " I know people who would rather be working on low budget "features" than better paying TV stuff, just so they can say they work on "Features" "

which goes to my constant questioning of what is a "feature"...

 

and proper sound on a narrative movie can not be accomplished by a OMB.

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