Jan McL Posted August 31, 2017 Report Share Posted August 31, 2017 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? Quote Link to comment Share on other sites More sharing options...
Philip Perkins Posted August 31, 2017 Report Share Posted August 31, 2017 My best boomists knew enough sound to also tell me when I should consider a plant mic (and where) and/or a line that was only going to work off a wire etc.. They also kept me apprised of the vibe on the set, who seemed hung over or was having an attitude issue that day... Quote Link to comment Share on other sites More sharing options...
RPSharman Posted August 31, 2017 Report Share Posted August 31, 2017 They keep me away from the important people so I don't say some stupid shit at the wrong time. Quote Link to comment Share on other sites More sharing options...
JonG Posted August 31, 2017 Report Share Posted August 31, 2017 9 minutes ago, RPSharman said: They keep me away from the important people so I don't say some stupid shit at the wrong time. Indeed! Quote Link to comment Share on other sites More sharing options...
old school Posted August 31, 2017 Report Share Posted August 31, 2017 The way I came up, and I believe it to be the correct way, is the boom op is the quarterback, the mixer and the 3rd/cable are the team players (sorry for the American football analogy). Of course my most valuable mentors were Jeff Wexler and Don Coufal and this is the way they/we worked. When I was a boom op, I made the decisions as to how we were going to do any given shot/scene and the team and I executed that plan. For me today as a mixer, I do it the same way. I wouldn't hire a boom op who couldn't run the set and didn't know film making and all it involves. While I did work with a few Emperor Mixers, it was one and done as everything suffered IMO/ Why? Because the front row is just that, the place where films get made. Not to diminish the mixing gig, a system and it's operation is the mechanical/technical heart of the operation, but the people make it work, not the gear. The unsung MVP is often the 3rd who will swing a boom, do playback, record sfx, fill in for the mixer who's 10/200, many times all in the same day. Just the way I like it. TEAM. CrewC Quote Link to comment Share on other sites More sharing options...
Jim Rillie Posted August 31, 2017 Report Share Posted August 31, 2017 37 minutes ago, old school said: The way I came up, and I believe it to be the correct way, is the boom op is the quarterback, the mixer and the 3rd/cable are the team players (sorry for the American football analogy). Of course my most valuable mentors were Jeff Wexler and Don Coufal and this is the way they/we worked. When I was a boom op, I made the decisions as to how we were going to do any given shot/scene and the team and I executed that plan. For me today as a mixer, I do it the same way. I wouldn't hire a boom op who couldn't run the set and didn't know film making and all it involves. While I did work with a few Emperor Mixers, it was one and done as everything suffered IMO/ Why? Because the front row is just that, the place where films get made. Not to diminish the mixing gig, a system and it's operation is the mechanical/technical heart of the operation, but the people make it work, not the gear. The unsung MVP is often the 3rd who will swing a boom, do playback, record sfx, fill in for the mixer who's 10/200, many times all in the same day. Just the way I like it. TEAM. CrewC +1 Quote Link to comment Share on other sites More sharing options...
alenK Posted September 1, 2017 Report Share Posted September 1, 2017 5 hours ago, old school said: The way I came up, and I believe it to be the correct way, is the boom op is the quarterback.... This is good for me to read. I primarily work network broadcast ENG gigs; bag and boom all in one etc. On the rare occasions that a producer asks if I want someone to operate a boom while I mix I usually defer and state a preference that I will work the boom while a production assistant baby sits the mixer. I don't want anyone on the boom who is not a sound craftsman. I had wondered how dedicated cart mixers felt about their boom ops. Sometimes I get the impression that "boom ops" are thought of as a sort of production assistant. It is reassuring to learn that the old school way is structured as you described. Quote Link to comment Share on other sites More sharing options...
codyman Posted September 1, 2017 Report Share Posted September 1, 2017 6 minutes ago, alenK said: I don't want anyone on the boom who is not a sound craftsman. I had wondered how dedicated cart mixers felt about their boom ops. Sometimes I get the impression that "boom ops" are thought of as a sort of production assistant. It is reassuring to learn that the old school way is structured as you described. I remember when I was just starting off I had countless producers on low budget projects say when I asked to bring on one of my trusted boom ops to set "Oh no we'll have PA's on set, I'm sure we can just have one of them boom for you." If they really refused to pay for a proper boom op, I ended up just mixing/booming as a one man band as there is just no way you can trust some random person to boom for you and get good results. Thankfully those days are behind me and I have several ops I trust and always want to be on set with me! Quote Link to comment Share on other sites More sharing options...
Nate C Posted September 1, 2017 Report Share Posted September 1, 2017 I rarely just boom these days but when I did I thought of it as a part of my duties to inform the mixer of any coverage changes, changes in performance (whisper last take, yell next take) and line changes. I would often also let the continuity person/script supervisor know of these. A lot of things get whispered into ears of actors and cam ops that don't get relayed to the rest of the crew. As a boomie you are in the middle of it all, quietly listening in. Quote Link to comment Share on other sites More sharing options...
thenannymoh Posted September 1, 2017 Report Share Posted September 1, 2017 On 2013-10-02 at 6:33 AM, VAS said: 11 hours ago, old school said: While I did work with a few Emperor Mixers, it was one and done as everything suffered IMO/ Why? Because the front row is just that, the place where films get made. Not to diminish the mixing gig, a system and it's operation is the mechanical/technical heart of the operation, but the people make it work, not the gear. This entire post is fascinating, this will change how I look at things Quote Link to comment Share on other sites More sharing options...
Philip Perkins Posted September 1, 2017 Report Share Posted September 1, 2017 What Crew said. When I had my best boomists I felt that my role as a mixer was a lot in the planning and overall strategy, gear choice and deployment, dealing with the producers, dealing with post, managing the "secretarial" aspects of the gig as well as mixing the scenes (back when the location mix was all that was delivered.....). I like the term "Emperor Mixer"! Good term--indicative of the fact having one person making all the decisions all the time isn't an efficient way to work. When people feel that their minds and experience are just as important to the work as their hands you get way better results. Quote Link to comment Share on other sites More sharing options...
mikewest Posted September 4, 2017 Report Share Posted September 4, 2017 Team work is the answer Let your boom op present solutions to you and then you can input your own ideas mike Quote Link to comment Share on other sites More sharing options...
Bash Posted September 4, 2017 Report Share Posted September 4, 2017 On 9/1/2017 at 4:20 AM, codyman said: I remember when I was just starting off I had countless producers on low budget projects say when I asked to bring on one of my trusted boom ops to set "Oh no we'll have PA's on set, I'm sure we can just have one of them boom for you." If they really refused to pay for a proper boom op, I ended up just mixing/booming as a one man band as there is just no way you can trust some random person to boom for you and get good results. Thankfully those days are behind me and I have several ops I trust and always want to be on set with me! I was having a similar convo with a producer some years back. as we were discussing I took the boom off my cart, extended it, and handed it to the producer. I was still talking so motioned to him to hold the pole up and I continued talking as I walked to stand under the mic. I don't think I got beyond about the third sentence when the producer interrupted me and simply said 'point taken, call your man now'. Generally they have absolutely no idea at all. I have also done lectures and talks at shows where I have set up a boom and given it to a production type in the audience to hold over me. Usually they can't even make 30 seconds before giving up much the amusement of the rest of the audience. At that point I have explained that 30secs is quite often less than the time it takes for the unit to get quiet, turn over, and get the clapper board on. They have not even made it as far as the word action!! Kindest, sb Quote Link to comment Share on other sites More sharing options...
IronFilm Posted September 11, 2017 Report Share Posted September 11, 2017 On 9/5/2017 at 0:03 AM, Bash said: I was having a similar convo with a producer some years back. as we were discussing I took the boom off my cart, extended it, and handed it to the producer. I was still talking so motioned to him to hold the pole up and I continued talking as I walked to stand under the mic. I don't think I got beyond about the third sentence when the producer interrupted me and simply said 'point taken, call your man now'. Generally they have absolutely no idea at all. I have also done lectures and talks at shows where I have set up a boom and given it to a production type in the audience to hold over me. Usually they can't even make 30 seconds before giving up much the amusement of the rest of the audience. At that point I have explained that 30secs is quite often less than the time it takes for the unit to get quiet, turn over, and get the clapper board on. They have not even made it as far as the word action!! Ha, very well played! Nice. Quote Link to comment Share on other sites More sharing options...
glinton Posted December 6, 2017 Report Share Posted December 6, 2017 Best thread on boom ops I've seen.... I completely agree. There are so many whispered discussions between Director or AD and DP, that a good boom op is the only way to keep clued in to information I need. They are my eyes and ears on set. Quote Link to comment Share on other sites More sharing options...
bcopenhagen Posted July 22, 2023 Report Share Posted July 22, 2023 Reviving this old topic... seemed appropriate for my question: Does anyone know if Don Coufal's boom class that used to be on the 695 website is anywhere on the internet? I found links to it from a post here on JWSound, but they are outdated. For context: sometime in 2008, I was in need of some inspiration as to the role of the boom op on set. I was working on a bigger budget film, and had a particularly frustrating day finding my stride as the bridge between the mixer and the other keys on set. I stayed up too late, dug around on the internet and happened to find Don Coufal's boom class on the 695 website. It totally changed my perspective and gave me the confidence to become, as Don put it, the ambassador of the sound dept. I'm now working more regularly as a mixer, but the ideas from that class have carried through to how I work with boom operators: as a cohesive and collaborative team. As I work with new folks, I'd love to be able to refer them to that video, if anyone knows if/where it exists. Thanks, Brian Quote Link to comment Share on other sites More sharing options...
OB1 Posted July 22, 2023 Report Share Posted July 22, 2023 +1 I was looking for this the other day and came up empty. Following. Quote Link to comment Share on other sites More sharing options...
echoMan Posted September 12, 2023 Report Share Posted September 12, 2023 Production Sound Mixing is a TEAM. The BOOM Operator is the primary on set! Quote Link to comment Share on other sites More sharing options...
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