Boom operator (media)

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Boom operator on set. Pormoennade troufreye Djowele filmeye1.jpg
Boom operator on set.

A boom operator (or First Assistant Sound) is a core role in the sound department of a film production, who works with the production sound mixer and utility sound technician. The principal responsibility of the boom operator is microphone placement, usually using a boom pole (or "fishpole") with a microphone attached to the end (called a boom mic), their aim being to hold the microphone as close to the actors or action as possible without allowing the microphone or boom pole to enter the camera's frame. [1]

Contents

Invention of the boom mic

The first noted instance of a prototype boom mic was on The Wild Party (1929). To allow Clara Bow to move freely on the set, director Dorothy Arzner had technicians rig a microphone onto a fishing rod. [2] [3]

Another instance of a boom mic was on the set of Beggars of Life (1928) when director William A. Wellman wanted a tracking shot of two actors walking down a street, and the sound man refused, telling the director that the actors had to be static and the microphone had to be hidden in a flowery vase. Wellman said "that's crazy" and instructed the sound man to put the microphone on a broom-handle and walk along the actors just outside of the frame. [4] According to David O. Selznick, "I was also present on the stage when a microphone was moved for the first time by Wellman, believe it or not. Sound was relatively new and at that time the sound engineer insisted that the microphone be steady. Wellman, who had quite a temper in those days, got very angry, took the microphone himself, hung it on a boom, gave orders to record—and moved it." [5]

A patent was filed a year later for a very similar sound-recording device by Edmund H Hansen, a sound engineer at the Fox Film Corporation. [6]

Applications

A boom operator onboard a JL Fisher camera dolly with boom pole fully extended Boom op.jpg
A boom operator onboard a JL Fisher camera dolly with boom pole fully extended
A "dead wombat" or "dead cat" (left) and "dead kitten" (right) wind-attenuating microphone covers Dead cat Dead Kitten.JPG
A "dead wombat" or "dead cat" (left) and "dead kitten" (right) wind-attenuating microphone covers

Often in television studios, the boom operator will use a Fisher boom, which is a more intricate and specialized piece of equipment on which the operator stands, allowing precise control of the microphone at a greater distance from the actors. They will also attach wireless microphones to persons whose voice requires recording. Boom poles are usually manufactured from several lengths of aluminum or carbon fibre tubing, allowing the boom to be extended and collapsed as the situation requires.

Some poles have a microphone cable routed through the inside of the pole, which may be a regular cable protruding at the bottom end, or a coiled cable that can extend with the pole, connecting to a socket at the base into which the operator plugs the microphone cable. The ideal boom pole is lightweight and strong, supporting the weight of the microphone on the end while adding as little weight as possible. [7]

Frequently, a wind-attenuating cover, called a "blimp" or "mic-blimp", is used to enclose the microphone. A blimp covered with sound-absorbing fuzzy fabric is usually nicknamed a windmuff or a "dead cat". In film crew jargon, the gruesome-sounding phrase dead cat on a stick is simply a boom microphone fitted with a fuzzy wind-screen.

On feature films and TV drama boom operators will have another sound assistant working under them who will assistant in various ways; including with boom operating out of vision dialogue, applying radio microphones and rigging other pieces of equipment.

The boom operator and production sound mixer can sometimes be combined into a job performed by one person on lower budget productions, usually when the crew number is to be kept minimal, or for documentaries or news collecting. The one-man unit is often known simply as a "sound recordist" or "sound man", and would perform all on set sound duties. [8]

The boom operator must decide where to place the microphone based on a combination of factors, including the location and projection of any dialogue, the frame position of the camera, the source of lighting (and hence shadows) and any unwanted noise sources. Often the boom operator will need to be as familiar with the script as are the actors, as they may be required to tilt or move the microphone according to who is speaking.

In productions with a bigger budget, more than one boom operator may be used, with each operator focusing on a different actor.

Having the boom mic or its shadow appear on the screen in a completed picture is considered a sign of poor film-making. Notable examples include the mic's shadow appearing above two crewmen flying a plane in Plan 9 from Outer Space and the mic itself dipping into the frame numerous times in Rudy Ray Moore's film Dolemite . Pastiches of bad film-making may also use boom mic visibility to spoof their material.

Boom operators therefore need to have a high level of skill to perform their jobs to a high standard. Knowledge of various types of microphones and their applications is essential. A knowledge of camera lenses is also necessary as well a good overall technical understanding of all the varied equipment modern sound departments use. Because boom operators are required to liaise with actors and multiple departments they need to be diplomatic and have good people skills. They also need a good level of physical fitness, strength and stamina. [9]

See also

Related Research Articles

A film crew is a group of people, hired by a production company, for the purpose of producing a film or motion picture. The crew is distinguished from the cast, as the cast are understood to be the actors who appear in front of the camera or provide voices for characters in the film. The crew is also separate from the producers, as the producers are the ones who own a portion of either the film studio or the film's intellectual property rights. A film crew is divided into different departments, each of which specializes in a specific aspect of the production. Film crew positions have evolved over the years, spurred by technological change, but many traditional jobs date from the early 20th century and are common across jurisdictions and filmmaking cultures.

<span class="mw-page-title-main">Production sound mixer</span> Member of a film crew or television crew

A production sound mixer, location sound recordist, location sound engineer, or simply sound mixer is the member of a film crew or television crew responsible for recording all sound recording on set during the filmmaking or television production using professional audio equipment, for later inclusion in the finished product, or for reference to be used by the sound designer, sound effects editors, or Foley artists. This requires choice and deployment of microphones, choice of recording media, and mixing of audio signals in real time.

<span class="mw-page-title-main">Mixing console</span> Device used for audio mixing

A mixing console or mixing desk is an electronic device for mixing audio signals, used in sound recording and reproduction and sound reinforcement systems. Inputs to the console include microphones, signals from electric or electronic instruments, or recorded sounds. Mixers may control analog or digital signals. The modified signals are summed to produce the combined output signals, which can then be broadcast, amplified through a sound reinforcement system or recorded.

<span class="mw-page-title-main">Phantom power</span> DC power through microphone cables

Phantom power, in the context of professional audio equipment, is DC electric power equally applied to both signal wires in balanced microphone cables, forming a phantom circuit, to operate microphones that contain active electronic circuitry. It is best known as a convenient power source for condenser microphones, though many active direct boxes also use it. The technique is also used in other applications where power supply and signal communication take place over the same wires.

<span class="mw-page-title-main">Grip (occupation)</span> Camera supporting equipment technician

In the United States, Canada and the United Kingdom, grips are camera support equipment technicians in the filmmaking and video production industries. They constitute their own department on a film set and are directed by a key grip. Grips have two main functions: The first is to work closely with the camera department to provide camera support, especially if the camera is mounted to a dolly, crane, or in an unusual position, such as the top of a ladder. Some grips may specialize in operating camera dollies or camera cranes. The second function is to work closely with the electrical department to create lighting set-ups necessary for a shot under the direction of the director of photography.

Grips' responsibility is to build and maintain all the equipment that supports cameras. This equipment, which includes tripods, dollies, tracks, jibs, cranes, and static rigs, is constructed of delicate yet heavy duty parts requiring a high level of experience to operate and move. Every scene in a feature film is shot using one or more cameras, each mounted on highly complex, extremely expensive, heavy duty equipment. Grips assemble this equipment according to meticulous specifications and push, pull, mount or hang it from a variety of settings. The equipment can be as basic as a tripod standing on a studio floor, to hazardous operations such as mounting a camera on a 100 ft crane, or hanging it from a helicopter swooping above a mountain range.

Good Grips perform a crucial role in ensuring that the artifice of film is maintained, and that camera moves are as seamless as possible. Grips are usually requested by the DoP or the camera operator. Although the work is physically demanding and the hours are long, the work can be very rewarding. Many Grips work on both commercials and features.

<span class="mw-page-title-main">Camera control unit</span> Equipment for powering, controling and handling signals of a video camera

The camera control unit (CCU) is typically part of a live television broadcast chain. It is responsible for powering the professional video camera, handling signals sent over the camera cable to and from the camera, and can be used to control various camera parameters remotely.

<span class="mw-page-title-main">Principal photography</span> Phase of producing a film or television show in which the bulk of shooting takes place

Principal photography is the phase of producing a film or television show in which the bulk of shooting takes place, as distinct from the phases of pre-production and post-production.

Video assist is a system used in filmmaking that allows filmmakers to view and distribute a video version of a take immediately after it is filmed. On set, the location where the assist is reviewed is called a video village.

<span class="mw-page-title-main">William A. Wellman</span> American director, actor

William Augustus Wellman was an American film director, producer, screenwriter, actor and military pilot. He was known for his work in crime, adventure, and action genre films, often focusing on aviation themes, a particular passion. He also directed several well-regarded satirical comedies. His 1927 film, Wings, was the first film to win an Academy Award for Best Picture at the 1st Academy Awards ceremony.

Television crew positions are derived from those of film crew, but with several differences.

A utility sound technician is a person to both the production sound mixer and the boom operator on a film or television set. Although sometimes the utility pulls cable and wrangles it for the boom operator, the position has evolved to far more than just a cableperson. The utility is a jack of all trades, assisting in setting up, operating and maintaining the running order of equipment, often acting as a second boom operator, or even second mixer, and also repairing and servicing equipment such as cables and hardware as necessary. As both mixer and boom operator(s) may be busy with their tasks at any given time, the utility may also apply or adjust personal microphones or actors' wireless transmitters, may move microphones or assist in running cables, and may liaise with other departments on issues such as noise minimisation and set lockdown.

MOS is a standard filmmaking jargon acronym used in production reports to indicate an associated film segment has no synchronous audio track.

<span class="mw-page-title-main">Wireless microphone</span> Microphone without a physical cable

A wireless microphone, or cordless microphone, is a microphone without a physical cable connecting it directly to the sound recording or amplifying equipment with which it is associated. Also known as a radio microphone, it has a small, battery-powered radio transmitter in the microphone body, which transmits the audio signal from the microphone by radio waves to a nearby receiver unit, which recovers the audio. The other audio equipment is connected to the receiver unit by cable. In one type the transmitter is contained within the handheld microphone body. In another type the transmitter is contained within a separate unit called a "bodypack", usually clipped to the user's belt or concealed under their clothes. The bodypack is connected by wire to a "lavalier microphone" or "lav", a headset or earset microphone, or another wired microphone. Most bodypack designs also support a wired instrument connection. Wireless microphones are widely used in the entertainment industry, television broadcasting, and public speaking to allow public speakers, interviewers, performers, and entertainers to move about freely while using a microphone without requiring a cable attached to the microphone.

<span class="mw-page-title-main">Lavalier microphone</span> Microphone that attaches to clothing

A lavalier microphone or lavalier is a small microphone used for television, theater, and public speaking applications to allow hands-free operation. They are most commonly provided with small clips for attaching to collars, ties, or other clothing. The cord may be hidden by clothes and either run to a radio frequency transmitter kept in a pocket or clipped to a belt, or routed directly to the mixer or a recording device.

<i>Chinatown Nights</i> (1929 film) 1929 film

Chinatown Nights, also known as Tong War, is a 1929 film starring Wallace Beery and begun as a silent film then finished as an all-talking sound one via dubbing. Directed by William A. Wellman and released by Paramount Pictures, Chinatown Nights also stars Florence Vidor, former wife of director King Vidor, who did not dub her own voice and quit the movie business immediately afterward, preferring not to work in sound films; her voice in Chinatown Nights was supplied by actress Nella Walker. The supporting cast includes Warner Oland as a Chinese gangster and Jack Oakie as a stuttering reporter. The movie was based upon the story "Tong War" by Samuel Ornitz.

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<i>The Wild Party</i> (1929 film) 1929 film

The Wild Party is a 1929 American pre-Code film directed by Dorothy Arzner and starring Clara Bow and Fredric March. Released by Paramount Pictures, it is known as Bow's first talkie. It is the fifth film directed by Arzner and the earliest surviving film in her work as a director.

<span class="mw-page-title-main">Unit still photographer</span>

A unit still photographer creates still photos specifically for use in publicity and marketing of feature films and television productions. In addition to creating photographs for the promotion of a film, the still photographer contributes daily to the filming process by creating set stills. With these, the photographer is careful to record all details of the cast wardrobe, set appearance and background.

<span class="mw-page-title-main">Production truck</span> Mobile audio and video control room

A television production truck or OB van is a small mobile production control room to allow filming of events and video production at locations outside a regular television studio. They are used for remote broadcasts, outside broadcasting (OB), and electronic field production (EFP). Some require a crew of as many as 30 people, with additional trucks for additional equipment as well as a satellite truck, which transmits video back to the studio by sending it up through a communications satellite using a satellite dish, which then transmits it back down to the studio. Alternatively, some production trucks include a satellite transmitter and satellite dish for this purpose in a single truck body to save space, time and cost.

<span class="mw-page-title-main">Y-cable</span> Cable with three ends

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References

  1. media-match.com, Boom Operator, What do Boom Operators do?
  2. Geller, Theresa L. "Dorothy Arzner". Great Directors. Senses of Cinema. Archived from the original on 2007-02-10. Retrieved 2007-04-20.
  3. "Dorothy Arzner, Hidden Star Maker of Hollywood's Golden Age". 8 July 2015. Retrieved July 17, 2015.
  4. Wild Bill: Hollywood Maverick (1995)
  5. The Parade's Gone By... (1992) p. 39
  6. Seger, Linda S. (2003). When Women Call the Shots: The Developing Power and Influence of Women in Television and Film. iUniverse. p. 15. ISBN   0595268382.
  7. getinmedia.com, Boom operator
  8. work.chron.com, boom operator
  9. "How to Become a Boom Operator in Film & TV Sound - Careers in Film".