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No Budget for a Boom Operator


Matt

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I have recently been running into a situation that I wanted to discuss with all of you. More and more I am getting calls from production saying that they, "Don't have a boom op in the budget." The last of these was a union spot for a large local hospital. Just today, I got a call from a production company wanting to do a spot for a major microphone manufacturer and was told the same thing.

I find this an affront to our craft and a sign of ever lowering respect for what the sound department does as well as a general lack of understanding as to what a boom op must do. I know we have all run into the productions that think they can just "hire a PA to boom" and have enjoyed the disastrous results. The other problem is that production seems not to understand that the tasks of the sound mixer involve more than just "sitting there". It involves prepping slates, delivering and maintaining Comteks for clients during the shoot, writing sound reports, and so forth.

So, I am writing to start a discussion about this trend and see how people are dealing with it in different markets. Now, to me, it seems that an ENG or reality show shoot would be the exceptions to the need for a boom op by the nature of the shoot. But, to be hired to shoot a national union commercial and be told that I won't have a boom op seems ludicrous.

It seems a little late in the game to blame the economy for this sudden "shortage" of cash. It seems like the same old "shortage" we are always dealing with dressed up in different clothes. While I realize that there can never be a hard and fast rule, I wonder, why does the camera department still get an AC? Can't the DP just pull focus himself? Why do they get a DIT? Can't a PA be paid to dump footage to a hard drive? There is no shortage of office PA's, either. Hmmm.

If you want to know where it is heading, I just got a call today where they wanted me to do playback for a mock heavy metal band, record background walla, and a principal talent delivering lines, but they don't want to pay for a boom op or a separate playback person. While it may be possible to do all this by myself, I have a funny feeling no one will remember the budget savings when we need a moment to stop everything so I can switch over to playback mode from live recording or vice versa. No one will blame production if the audio is bad because I needed a boom op and was not provided with one.

What are your thoughts? Am I being unreasonable? Unrealistic? Am I just being a baby and need to swallow my pride and go ENG style for any shoot that requests it while the DP sends the 2nd AC for another iced coffee?

Thanks for reading,

Matt Hamilton

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If these are union jobs, it certainly depends on the contract. Many times commercial's contracts will ask for a boom operator if there is a "moving microphone". I've heard of jobs where they ask you to wire everyone, not boom or hang a boom in the air, and only hire a mixer. While this is contractually fine in these cases, it does put a lot more work load on the one person.

There are two things you can do, when talking about union jobs. First, talk to your BA about the contract and suggest that the sound department become a mandatory 2 man crew. Second, call your brothers and sisters regarding the situation, and just say no. If all the good ones start saying 'no' to a one man crew, they won't have much of a choice!

If they're non union jobs, well, what can you do? Organize.

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If you can't with logic and common sense about the job requirements change their minds, or point out the unsafe practice of booming and bagging. (your back), then the only power you have is to say no. That is your only power. Be prepared to use it or live with the job being done the wrong way, their way. If you or whoever takes these kind of gigs, I would suggest taking a good look around the set at the 3 or 4 man camera crew. The 6 man grip dept and all the dollies and cranes. The 20 person video village ordering a Starbucks run the prod company is buying them. It's up to the mixer to take or leave the call. Your choice and no others. My POV.

CrewC

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Sadly, this week alone I had two jobs that refused to pay for a boom op. Both with good budgets on the mixer end. My only options would be to pay the boom out of my pocket (can't afford it) or say no and go wires only at the expense of quality. If I go bag and do it all I'm afraid it will be harder and harder in the future to show these clients the advantage of a boom op and to justify the expense on future gigs. We've got to keep all the leverage we can!

I think there are too many mixers that don't fight it when they hear "sorry, not in the budget". With the exception of older more experienced guys that know better, They just take what is offered with minimal struggle. This is just my feeling in response to this new mindset that is permeating the production world.

I would love to have some solidarity with my fellow mixers and more of us not afraid to "just say NO". We all should try and maintain a proper standard for our department as best we can. Otherwise slowly but surely the idea of a three, even two man sound team will disappear as they respond..... "Well, the other mixers we've worked with didn't need a boom op so we don't see the need for one"

End Rant

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Sadly, this week alone I had two jobs that refused to pay for a boom op. Both with good budgets on the mixer end. My only options would be to pay the boom out of my pocket (can't afford it) or say no and go wires only at the expense of quality. If I go bag and do it all I'm afraid it will be harder and harder in the future to show these clients the advantage of a boom op and to justify the expense on future gigs. We've got to keep all the leverage we can!

I think there are too many mixers that don't fight it when they hear "sorry, not in the budget". With the exception of older more experienced guys that know better, They just take what is offered with minimal struggle. This is just my feeling in response to this new mindset that is permeating the production world.

I would love to have some solidarity with my fellow mixers and more of us not afraid to "just say NO". We all should try and maintain a proper standard for our department as best we can. Otherwise slowly but surely the idea of a three, even two man sound team will disappear as they respond

"Well, the other mixers we've worked with didn't need a boom op so we don't see the need for one"

End Rant

You can thank the "pack mule audio" reality mixers for that.

Eric

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As long as people do these shows without boom ops, this will continue.. Blame those who sold out the position by agreeing to go out without them... Once the Producers taste the punch, they can't get the taste out of their mouths..... IT IS OUR OWN PEOPLE, EATING EACH OTHER.... Just like Easter Island.....

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I agree 100% with you guys, especially when referring to Camera AC's. I think a good way to argue is to say "Okay, so is the DOP pulling focus?" Or even "Is the focus puller doing all the slating/ lens fetching?". "No" would be the rsponse. No, because those jobs all have duties that 'fill up' one person! I think we need to collectively support each other by always arguing for a boom operator: not just to make the work efficient/get the job done correctly, but to keep our fellow soundmen working.

On a related note: I did a 2 month gig on a Union TV show as a sound assistant, the 4th in the sound team (Mixer, Boom 1, Boom 2, Assistant), and from working my butt off to make sure everything went as smooth as it could, the exec producer and production manager (among others) were convinced that a 4th Sound Person is the way to go.

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I see two underlying questions here: 1: how do you make the judgement about whether or not you actually need a boom op, and 2: whose judgement about that ultimately pertains. Re: #1, you have to learn how to ask the questions that tell you what is really going to happen on the shoot. Don't be afraid to ask for boards, scripts etc, and don't be afraid to not be willing to make a deal until you see what's really involved in the shoot. One often very telling question: what camera are they using? How many? A producer unwilling to give info about a job (and instead relentlessly demanding a rate) is a danger sign. WIth some people I ask them directly what their sound equipment requirements are--this can sometimes tell you quite a bit about how they think their job could be done, what the expectations are (or if they've thought much at all about sound). Re question #2--I agree with Crew--ultimately they will decide how their job will be done, not you, and if they won't take your suggestions or want to work in a way you don't like, you should pass.

phil p

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In my smaller market, there are no boom ops, it's 99.8% one man band. In my twenty plus years, I've only been offered a boom op twice. A national drug spot was shot here last month with a big local talent with a OMB.

If you want the buck to stop at your place, you better be the first one to say yes or they just go onto the next person and there aren't that many of us.

Production sees sound "just" standing around waiting while the G&E and AC's are all running around doing "stuff". What is the sound to do? Talent is locked in with make-up and the "cart" is hanging around your neck and the boom is in your hand. Heaven forbid you put anything down or a light or a flag will soon grow over it.

Then the talent comes out of make-up and walks right by you on the way to set where you have to chase them down. As you put a wire on them, the whole world is watching wondering why YOU are holding everything up. Then the talent has to walk 15 ft turn around and talk to someone at point A. The rehearsal is spoken at one level while the real deal is done 20% louder. With both hands on the boom, no chance to pull any faders down. That's just a little too hot, or it might be reversed. Then there is the roll on rehearsal when the talent hasn't said a pep other than "Hi" to the director.

I feel the pain. I would love to build a cart and have a two person crew, but it just ain't in the cards out here. I would love to outlaw OMB sound, but how do you fight it. Would love to be able to do it so much better.

Scott.......

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On a related note: I did a 2 month gig on a Union TV show as a sound assistant, the 4th in the sound team (Mixer, Boom 1, Boom 2, Assistant), and from working my butt off to make sure everything went as smooth as it could, the exec producer and production manager (among others) were convinced that a 4th Sound Person is the way to go.

I've made this observation before for producers: hiring another guy saves you time and money -- it doesn't cost you money. If the boom op only saves them 5% of the shoot day in time, he or she has more than paid for themselves.

I'm reminded of The Senator's comment about "producers tripping over dollars in order to save pennies." Too true.

--Marc W.

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I've made this observation before for producers: hiring another guy saves you time and money -- it doesn't cost you money. If the boom op only saves them 5% of the shoot day in time, he or she has more than paid for themselves.

I'm reminded of The Senator's comment about "producers tripping over dollars in order to save pennies." Too true.

--Marc W.

An excellent point! I will incorporate that into my negotiations.

-Jw

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........Then the talent comes out of make-up and walks right by you on the way to set where you have to chase them down. As you put a wire on them, the whole world is watching wondering why YOU are holding everything up. Then the talent has to walk 15 ft turn around and talk to someone at point A. The rehearsal is spoken at one level while the real deal is done 20% louder. With both hands on the boom, no chance to pull any faders down. That's just a little too hot, or it might be reversed. Then there is the roll on rehearsal when the talent hasn't said a pep other than "Hi" to the director.

Scott.......

That's good,....we should laugh or cry......

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I've made this observation before for producers: hiring another guy saves you time and money -- it doesn't cost you money. If the boom op only saves them 5% of the shoot day in time, he or she has more than paid for themselves.

I'm reminded of The Senator's comment about "producers tripping over dollars in order to save pennies." Too true.

--Marc W.

Not to mention the most likely "Improvement in the quality of the product you as a sound team can deliver"... This to me is worth the added expense alone, couple that with the saved time and it's a no brainer...

I KNOW I can deliver better sound with a boom op to deal with all that they do, save time, mount the lavs really nicely, maintain them when things get "noisy" and get a boom mic where it needs to be.... EXACTLY ...without me doing everything myself and fighting to stand on frames edge while mixing ..... Comteks or IFBs, slate, changing batts on the fly, dealing with getting things buckled up sound wise... loading and unloading , moving locations on and on.... With a boom op, so much can be done, faster, better, more professionally and... in the end... you leave having recorded nice sound....

Do people do this all the time.... over the shoulder, yes.... is it really the best way to deliver product to production?... not usually..... unless it's some guy in a chair during an interview.... I have said it before, there is a time and place for it... but those "times" are really few... Hearing Commercials, Movies and TV shows done over the shoulder wreaks of an expenditure issue on productions part...

It's just plain wrong on so many levels...

In the small markets Nationwide, the Producers are a bit like a Circus animal.... We have trained them into thinking it is OK, and they now think that every feeding time they will simply pull out the last shows crew list and make the calls.... with no matter to the staffing needs on any particular gig...... just do it like last time... over and over... same with the budget.... over and over.... in fact, it goes down as they try to improve the reduced expenditure, not increase it...

So next step?... Well, as they have now backed you into a corner with your bag of little and expensive radio mics to save your ass (and theirs), they will now not want to pay for those... as is happening now with what I read from the ENG style rates so often spoke of....

So lets recap...

* No boom ops and those guys (and gals) loss of a job...

* Increased workload for you the mixer (Equals in some strange way reduced hourly wage since you now do twice as much work)

* Reduced overall quality of YOUR product

*Lower rates for your package until we have all cannibalized ourselves into oblivion...

Am I the only one who sees some not so distant writing on the wall?

The Good news.... San Francisco now has a $10 an hour minimum wage.... I am not joking when I say that that is creeping up on a day rate for some low budget gigs I hear about.... Break out your Burger cooking aprons folks.... It is beginning to look like an alternative to Sound work... at this rate... ;D

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1) doesn't the union dictate a (minimum) 2 person sound department for these types of jobs?

2) as for the economy, a lot of people here called it..... if production gets away with cutting any department in half because times are tight, and gets acceptable results, why would they ever go back to the way it was? Heck, this has been going on long enough that plenty of these APs may be young enough to only know one person sound departments. ugh.

3) if it's a low budget film (I'm not union), or some corporate shoot and I am under staffed, I do what I can without killing myself. I don't waste time, but I don't run. I calmly remind the watch-pointing production person that there is only one of me (or two of us). That's especially the case on films. A two-person department is going to take time to distribute comteks, wire actors, watch blocking, then move the cart, wrap cables, rerun cables, change batteries etc etc etc. I'm lucky that I have worked with great boom ops that know how to do pretty much everything, and very willing to do as much as possible. I have even had the request denied to bring on an unpaid intern because they didn't want the extra mouth to feed! (ironic, because I usually don't/can't eat production food). Not that I would use an intern as a 3rd, but they can be a help, while learning things.

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I have heard comments about how the AC and I are the highest paid people on the set. It is only because I've have my audio kit and the AC owns all of the camera gear. But the productions do not want to own the equipment themselves, then complain or try to drive down our rates.

I also have the problem of standing on set and having a PA run in to tell me a battery has gone south on some comtek and expects me to drop everything to change it. It would be so nice to have someone to handle that and knew the ins and outs of the equipment.

My market has never been anything but OMB's. I would like to add an extra person to the crew, but haven't gotten anywhere yet. I keep hearing how all the budget are getting cut back. Bla, bla, bla.....

Scott......

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" "Don't have a boom op in the budget." "

that is sooooo easy to fix. just one little entry on the spreadsheet... ::)

Some union commercials are OMB's, but a member is free to decline them.

" enjoyed the disastrous results "

well, that isn't always the case...not really.

There are lots of situations where OMB is fine, " you have to learn how to ask the questions that tell you what is really going to happen on the shoot. "... and then manage expectations.

Edited by studiomprd
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Not to mention the most likely "Improvement in the quality of the product you as a sound team can deliver"... This to me is worth the added expense alone, couple that with the saved time and it's a no brainer...

I don't think producers "get" the concept of better sound quality. But even the stupidest ones can understand: "I can practically guarantee you will save almost an hour of time in a 12-hour day if I have a boom op, vs. me working alone." Otherwise, they're going to be waiting for the next actor to be wired, waiting for the sound cart to move, waiting for timecode re-jamming, waiting for battery changes, and the myriad of other things that take time.

--Marc W.

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I enjoy working with a boom op whenever possible, and practical for the production, but I do a lot of OMB work as well.

When working with a producer on a gig I think requires a boom op, and would be better suited worked off a cart, I not only talk about the quality benefits of a boom op, but I'm quick to cut the services I'm able to offer when booming and mixing.

You want TC, comteks, multiple wires, camera feeds to multiple cameras? I need help. If you (the producer) are willing to give up some of those services, then I can reasonably do the job alone. Otherwise, it's too much work for one person.

I believe it comes down to managing expectations, which you can only do if you know what the expectations are. The more knowledge you have going into the negotiations, the more power you have in getting what you want/deserve.

http://wanderingear.net

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My first introduction to feature work was as a last minute sub for an indie. Working mostly industrials/training up to that point, was amazed at the size of the crew...tiny by normal feature scale...but more than what I was used to. But yeah...one sound person (bag/boom) but about 8 folks between camera and lighting. Worst of it was that they would spend an hour lighting a scene and keep me out of the environment till seconds before roll. Low ceilings, moving characters etc. I would have had an easier time with simply more rehearsal access.

Senator posted "you have to learn how to ask the questions that tell you what is really going to happen on the shoot"

Great point. Worked on a shoot where I thought I had a handle on this by asking for storyboard/script. Looked like 3 total lines, easily boomable, yet they wanted 4 wireless to seemingly capture ambient sounds. Turns out it was 90% unscripted documentary style with tons of back and forth. Hmmm.

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When working with a producer on a gig I think requires a boom op, and would be better suited worked off a cart, I not only talk about the quality benefits of a boom op, but I'm quick to cut the services I'm able to offer when booming and mixing.

You want TC, comteks, multiple wires, camera feeds to multiple cameras? I need help. If you (the producer) are willing to give up some of those services, then I can reasonably do the job alone. Otherwise, it's too much work for one person.

+1

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