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Fisher Boom


Richard Ragon

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Sitcoms have changed over the years and some are done either hybrid or all single-camera with no audience at all but if you're talking about Old-style sitcoms, they are always done with Fisher booms. Maybe there will be an occasional plant or a fishpole just to grab a hard to reach line, but we have no radios at all. You don't even see radios on the stage for backup. It's all done with open mics and 99.9% done on Fishers. Usually 2 booms on the floor, or maybe 12 to 14 when up in the greenbeds.

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If you do end up using a Fisher boom (s) please make sure you use only boom operators who are experienced

with operating them. Sorry, I had to say it, as I have had one guy tell me he was a "surgeon" on one. And it

turned out that he hardly knew how to work with it and it almost went over when he tried to climb on to it from the wrong

side. Luckily, I was there to keep it and him from falling over.

I was raised on Fishers, and am able to help out newbees. Thankfully, many have taken Laurence's

Fisher boom training classes, through Local 695. Some also train at the Fisher shop itself, in the Burbank area.

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On our Christmas episode of Glee this year we re-created a variety show within our show. We built a large 3 wall set to accommodate 3 cameras and 2 fisher booms. Since we are a single camera (meaning 2 or 3 cameras) show, it was a "fish out of water" situation with me. I was able to put together a "hybrid" crew, meaning I added 2 fisher booms and operators. We had 2 Fisher Booms and 2 regular booms on the floor, plus playback and myself mixing. It was 2 of the most fun days I've had in a long, long time. Watching the crew work with the Fishers, and the expert operation of the booms, along with a Technocrane and 2 dollies on the floor was like watching a Cinegear ballet. The scenes were 10 minutes long and each had music within the scene. It was a great experience.

Use Fishers if you can, and hire the right operators. You wont be disappointed.

The Glee Christmas sound crew, in photo order... Patrick Martens (boom), Phillip Palmer (mixer), Anthony "Butch" Inglese (Fisher boom operator), Steve Schuneman (Fisher boom operator), Mitchell Gebhard (boom/utility), Devendra Cleary (playback operator).

post-24-0-95558500-1323367299.jpg

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Yes Senator.. I asked him about a live audience, and he says no live audience.. So, my first guess was, no need for the Fishers then.. However, it's on large sound stage, 7-8 actors over a very large floor area, and he said the takes might be over 15 mins long.. Hence, maybe the Fishers are back..

Well see..

-Richard

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The decision to use Fishers isn't based on whether there is or isn't an audience. It's more a matter of the style of shooting. Fishers love shows with 5- or 6-page scenes, large 3-wall sets and 4 cameras rolling at all times. Many multi-camera sitcoms that use Fishers never ever have an live audience but that is of no consequence. I think that once you get used to working with them, you'll want them whenever the situation allows it. Not that it should matter to you but they're also not very expensive, especially for long-term rental.

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I bought my first Film Fisher in 1976 and sold it in a fit of pique in 1986. I was then fortunate enough to have one given to me a few years ago and I would not be without it. A few mixers here in the UK have grouped together to hire our booms out to non idiots.

Malcolm Davies A.m.p.s.

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Laurence.. Hence the reason I said, Large Studio Floor combined with Very long takes, put the Fishers back on the table again.. Perhaps you didn't read my post right?

Thanks

-Richard

Yes, I did read it. Just wanted to reiterate those points while proposing that the absence of an audience was not really a factor.

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I operated Fisher and Mole booms on live and recorded show in the mid 60's

Imagine a long arm Fisher with an MKH805 (816) on it on a singer - Ive done that!!!!!!!!!!!!

Listened to program sound/director,vision mixer/sound director and followed a script too!

Wonderful experience that few would enjoy these days.

mike

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I operated Fisher and Mole booms on live and recorded show in the mid 60's

Imagine a long arm Fisher with an MKH805 (816) on it on a singer - Ive done that!!!!!!!!!!!!

Listened to program sound/director,vision mixer/sound director and followed a script too!

Wonderful experience that few would enjoy these days.

mike

I was charged with purchasing a boom (Mole Richardson) for a training company I worked for in the late 80's. We had a full studio and and post production facility at the time. Also did location work as well. We were able to get some amazing coverage with that thing! It helped that the DP knew how to light for it so were weren't having shadow problems. He always kept a spot open for the rig. Started out with an 816 on it, and later replaced it with a Neuman KMR 82. The only bummer was our ceiling was somewhat low for having a lighting grid and it got really warm up on the platform. I would love to try out a Fisher some day.

Bernie

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Hi Bernie,

Moles were a bit clunky and ok for smaller sets

I managed to overturn a Mole in a studio caused by a flat tyre!!!!!! Was my face red!!

Fishers were always a joy to use, a seat, hydraulic platform and dolly could crab.

The small location Fishers were lovely too.

I purchased on on behalf of the company I first worked for here in NZ.

Cost brand new in 1976 was $1,500.00 (two years wages then for me)

Now they go for $15,000.00 about 1 month of average turnover for me now!

mike

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Hi Bernie,

Moles were a bit clunky and ok for smaller sets

I managed to overturn a Mole in a studio caused by a flat tyre!!!!!! Was my face red!!

Fishers were always a joy to use, a seat, hydraulic platform and dolly could crab.

The small location Fishers were lovely too.

I purchased on on behalf of the company I first worked for here in NZ.

Cost brand new in 1976 was $1,500.00 (two years wages then for me)

Now they go for $15,000.00 about 1 month of average turnover for me now!

mike

The Mole was clunky. but that's all I could find used around here in Minnesota. Paid $5000 for it, and I think it listed for $15,000 new if I'm remembering right. Seems like a lot compared to the Fisher you bought. I could see how a flat tire would be a disaster with one of those. I remember not being able to crank it in and out while taping because it rumbled if I cranked too fast. Got pretty good at finding a place where I could just swing it for the coverage and not have to do that. Would love to try out a Fisher sometime.

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" a long arm Fisher with an MKH805 (816) on it on a singer "

That is how it was done.

Johnny Carson did his monologue under a Schoeps on a Fisher, and at the couch, the guests were covered by that rig.

Fisher still makes, maintains, and rents a significant inventory of their sound booms, and every one of them is always completely up to spec and "as brand new".

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