4

The general rule is getting the boom as close as possible to the actors mouths WITHOUT getting the mic in the frame! Can't see many directors having the attitude of "it's ok we'll fix THAT in post". Definitely not an attitude i would think a boom op would have on set, unless he/she wanted a very short career in sound...


3

Who says the mic always has to be on a boom? On medium shots, I've hidden mics in planters, taped them onto the shoulder of actors facing the camera to pick up someone speaking behind them, mounted an MK41 on the front of someone who's back is to the camera to pick up the main character's lines who is speaking to him, hidden them in hats, placed them behind ...


2

This is nothing new, and it is likely to be caused by a sound designer triggering the sounds manually. The same is done in (live) broadcasts for other sporting events, the Norwegian State Broadcaster NRK has a rather good article about it here (translated via Google): https://translate.google.com/translate?sl=auto&tl=en&js=y&prev=_t&hl=en&...


2

For those of you who have been using this successfully in the field, could you please post full names and model numbers of the USB battery packs/power supplies you have been using with the USBpre? Thinking of getting this to double as a 2-channel field mixer with my Fostex FR-2, as well as a PT interface.


1

I bought a USB Pre 2 to use on a gig this week, it was an excellent tool. As for getting USB 5v power to the unit... I purchased a hefty USB power source, the iSound Portable Power Max (16,000 mAh) The outputs are rated up to 2.4amps, well above the USBpre's needs. This power supply is almost as big as the USB pre 2 and attached nicely on top with velcro....


1

heres is the solution! thats what i wanted. https://itunes.apple.com/us/app/sound-report-writer/id492004803?mt=8


1

I don't know if this is what you really looking for, but Sound Devices made app for I-phone "CL WIFI" in witch you can make sound report, and manage your metadata. But like I said it's for Sound Devices


1

Performance will get you a long ways towards your goal. They need to project, make sure their headphone feeds aren't too loud. Are they supposed to be getting interviewed? If not keep the mic farther away in more of a boom position. Make sure you don't have any room reflections. Some of it depends on how far you want to go - believable vs "radio" and ...


1

If you are the filmmaker, then get a production sound recordist. They would be more than happy to help you without explaining the complex decision chain. Otherwise get the mic as close as possible without it being in the part of the frame you want to use. That means either outside of the frame, or where the picture will be replaced with something else, and ...


1

The only time I have seen it be acceptable to have a boom in the shot is when shooting green screen. Typically your video editing program allows you to create a trash mat that eliminates everything but your main subject. Otherwise, follow the advice previously given and get your boom out of the shot. Have you considered using a lavaliere?


1

If you are miking a properly framed close shot (in on an actor's face), than 6-8 inches is great...with the boom OUT of the frame. If it takes 2 more inches to stay out, give it. The sonic difference between 8 and 10 is going to be negligible. Now, if you are talking about any angles other than those up close, you should ASSUME that you will be ...


1

Unless you are making a mocumentry or it is specifically requests in say a scene with a news reporter NEVER NEVER NEVER let your mic show in frame, as a boom op your job is to check the frame first and check with cameraman to make sure this does not happen. As mentioned above it is a complete waste of time fixing something in post when there is no need. All ...


1

Yes I, for obvious reasons, completely agree with Andy. I've never ever heard of anyone saying they'll take the boom out in post, wasteful use of time and unnecessary. Get as close as you can, about 6-8 inches is fine. If it's a wide shot, do it MOS and then ask the director if they can do another shot for sound (unless you quality radio mics).


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