Should I apply for jobs as a boom op?

H

harmonica44

I am still learning a lot of the tricks of the trade, but one thing I was told I have mastered by my fellow filmmaking wannabees, is boom operating. They always want me to do it, cause apparently I am the only one who knows what he's doing. Now I feel that maybe if that's true, I might expand my opportunities by applying for some jobs here in town. One thing is is that some people may want me to do the boom operating and the sound mixing at the same time, which is very difficult since I have only have two hands and have to keep my eyes on the actor's mouths the whole time. I would ideally be working with a mixer, but I'm guessing some will expect me to do both. I also don't really have a resume. None of my the people I have worked for, have finished their movies or anything so I got nothing to show yet. Should I wait, cause that could literally be a long time, since we are all still learning everything.

If I must wait than I will. What do you think?
 
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To address the point of acting as boom-op/recordist the vast majority of the times I have done that role the only channel I was recording is the boom. Set the levels correctly during rehearsal and then just try and keep an eye on the levels to ensure you don;t unexpectedly clip. Set levels to -20 and also keep in mind there is usually up to 6dB difference between run throughs and actual performances particularly with less experienced talent. The only chance you have at recording level control once at speed is physically moving the boom. If I am expecting a sudden scream or shout during normal level recording I back off the boom for that section bearing in mind that is not always applicable as you are changing the sound perspective. If you are in a particularly 'roomy' environment you may be better served clipping the scream and getting it again wild or ask for an extra shot with the levels set for the louder passage. You may get a different shot of that anyway.
Dont ever be tempted to continually follow the dynamics of dialogue by moving the mic in and out. It works on stage or in studios for singers in controlled accoustics but not on set
If you do need to also record output from plants, lavs etc all you can be expected to do is set levels during rehearsal and watch for clipping or problems you can't and shouldn't be expected to actually mix. Laying down isolated tracks to multitrack would be the only reasonable process here.
 
H44, just out of curiosity, is sound an area you are wanting to pursue? Because if directing is your main area, or another area, selling yourself as a boom op might not be the best idea. Sure youll get on set and work with people (which is a great bonus) but apart from that you're not furthering your wanted area of expertise apart from seeing it in action, which helps of course.

If you do want to be a sound guy, go for it
 
No I want to pursue other areas. I just want to get on sets and learn, build connections, and get my foot in the door. So since booming is my best learned skill so far, I thought I would use that to get in, since in order to get on set, they are expecting you to be able to do one of the tasks.
 
Im thinking the same thing.. round here (PDX) ANY boom ops\recordists are hard to find.. there are like three go to guys that are booked solid all the time. Even on low\no budgets, sound guys get paid! As do H\MUA's ..
 
Okay thanks. Well I was told I know how to do it, and that good boom operators are hard to find. I am working for the same guy booming again this weekend. I can wait till I see a finished product to see if I am actually good or not before I start applying of course. But I researched how to do it from instructions on here and everything, so that really helped. Thanks people.

And yes it is hard to find good audio people for some reason. I am looking for a good audio engineer to help me with a short film, and still haven't found one here. So the audio department is frustrating.

And I've been told to move the mic back if someone scream's before, but I noticed immediately how that changes the perspective and would prefer not too and just get another take.
 
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harmonica44 said:
And I've been told to move the mic back if someone scream's before, but I noticed immediately how that changes the perspective and would prefer not too and just get another take.
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Which is why there needs to be a production sound mixer, OR you set your second channel at a much lower level to account for transients like screams.
 
harmonica44 said:
I am still learning a lot of the tricks of the trade, but one thing I was told I have mastered by my fellow filmmaking wannabees, is boom operating. They always want me to do it, cause apparently I am the only one who knows what he's doing. Now I feel that maybe if that's true, I might expand my opportunities by applying for some jobs here in town.
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Alcove, my momma said the same thing but what the hell :) .....

H44, there's a world of difference between someone who's better at something than his mates because he's the only one willing to do it and a "master" of the craft. If you get a gig on the basis that you're a master, where I'm from they'd work out quite quickly that you're actually just a novice with a bit of experience who's not even particularly interested in being a boom op and then, well let's just say that the film world can be a cruel and harsh business!

Much better to sell (and price) yourself as a novice with some experience who's eager to learn and willing to work hard. And, be careful about when and who you tell that you don't actually want to be a boom operator but a director. If you do it right you could learn a great deal about filmmaking and earn yourself some cash on top. Maybe the situation is a bit different in your neck of the woods though.

G
 
Alcove Audio said:
you set your second channel at a much lower level to account for transients like screams.
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Pardon my newbie ignorance, but how do you do that with only one mic? Is there a cable that splits from one xlr on the mic into two xlrs that you plug into the recorder? Do you need a mixer or some kind of multichannel, channel-splitting separate preamp device? Or does my dr100mkii automatically record to two different channels and I just don't realize it?
 
Mannie Bothans said:
Is there a cable that splits from one xlr on the mic into two xlrs that you plug into the recorder? Do you need a mixer or some kind of multichannel, channel-splitting separate preamp device?
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To do it properly you should use a mic splitter. However, a "Y" cable will suffice, although you will have a drop in level(s) of a few dB, so you will have to increase the gain on the channels, thereby increasing the self-noise from the mic preamps. Some recorders/mixers have the ability to work in dual mono mode, sending the signal to both channels and the ability to set those channels at different levels. I don't remember if the DR-100 can do this.
 
For sure. I still haven't gotten a splitter. A little low on money since I spent my filmmaking budget on some other things but I will highly consider getting one. In the mean time I have just being telling the director whether or not their was a clip and if it needs to be redone.

I went to the filmmaker's studio I did sound for, and heard the audio played back from two scene shoots I did, and they both sound surprisingly good. And I was told I did very good too. I think I will apply but will say that I am a novice, and ask the guy I worked for if he'll be a reference.
 
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