“Dead wombat” (L) and “dead kitten” (R) wind-attenuating microphone covers / Photo Credit: Victorgrigas
BOOM POLE OR FISH POLE OPERATOR… (In the
Entertainment industry. Boom pole or fish pole operator Cinema)
Bruce
Bisbey…please follow me at: https://dumbdogproductionsllc.blogspot.com or https://www.facebook.com/DumbDogProductionsLLC/ thank you.
Boom pole or fish pole operator
A boom
operator is an assistant of the production sound mixer. The principal
responsibility of the boom operator is microphone placement, usually using a
boom pole (or "fish pole") 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.
Invention of
the boom mic
The first
noted use 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. 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."
Another
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.
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.
The job:
- Positioning microphones during filming…
- Making sure that microphones don’t get in the way of cameras or actors…
- Looking after sound equipment…
- Have a basic understanding of electronics…
- Have a good working knowledge of all sound recording equipment…
- Understand microphones, lighting techniques and camera lens angles…
- Have an interest in acoustics and audio technology…
- Have excellent listening skills…
- Have good physical stamina, dexterity and agility…
- Have good timing and the ability to anticipate…
- Have a good memory…
- Be patient, flexible and reliable…
- Have good attention to detail…
- Be diplomatic and sensitive on set…
- Understand the relevant health and safety laws and procedures…
What does a
boom operator do?
Boom
Operators assist the Production Sound Mixer and operate the boom microphone.
This is either hand-held on a long arm or dolly mounted (on a moving platform).
If radio or clip microphones are required, Boom Operators position them
correctly around the set or location, or on actors’ clothing.
Boom
Operators are responsible for positioning microphones so that Sound Mixers can
capture the best quality dialogue and sound effects. If this is done well, a
great deal of money can be saved by not having to re-record (post-sync) the
dialogue at a later stage.
Boom
Operators are also responsible for all the sound equipment, ensuring that it is
in good working order, and carrying out minor repairs where necessary.
Boom
Operators begin work on the first day of principal photography. They have to
read the script and familiarize themselves with the characters and their lines
of dialogue. Members of the Sound Department arrive half-an-hour before call
time, in order to unload and set up all the sound equipment.
Boom
Operators are given “sides” (small booklets of pages from the script that are
to be shot each day. They have to memorize all lines of dialogue and anticipate
when to move the boom during filming. During rehearsals Boom Operators
carefully note all planned camera movements and lighting requirements. They
have to make sure that the microphone does not accidentally fall into shot or
cast shadows.
Boom
Operators are on set virtually all day. They work very closely with the Camera
Crew. They are often asked to move slightly because of lights or camera angles
and Boom Operators may also make similar requests. They finish work when the
film wraps (is completed).
Boom
Operators work on a freelance basis, and report directly to Production Sound
Mixers in Production Sound Departments. They usually specialize in film or
television, but may also work on commercials. The hours are long and the work
often involves long periods working away from home.
Applications
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.
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.
The boom
operator and production sound mixer may often be combined into a job performed
by one person, usually when the crew number is to be kept minimal, such as for
documentaries or news collecting, or in low budget productions. The one-man
unit is often known simply as a "sound recordist" or "sound
man", and would perform all on set sound duties.
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. The TV Tropes wiki has a list on its "Visible Boom
Mic" trope page demonstrating more examples. Pastiches of bad film-making
may also use boom mic visibility to spoof their material.
Sources,
References & Credits: Google, Wikipedia, Wikihow, Pinterest, IMDB, Linked
In, Indie Wire, Film Making Stuff, Hiive, Film Daily, New York Film Academy, The
Balance, The Numbers, Film Maker, TV Guide Magazine, Media Match, Quora, Creative
Skill Set, Investopedia, Variety, No Film School, Daily Variety, The Film
Agency, Best Sample Resume, How Stuff Works, Career Trend, Producer's Code of
Credits, Production Hub, Producers Guild of America, Film Connection, Variety,
THIS ARTICLE
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“Dead wombat”
(L) and “dead kitten” (R) wind-attenuating microphone covers / Photo Credit: Victorgrigas
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