Static and Motion Booming
Once you have the basics down, you need to apply them to a shot. You’re going to run into to two kinds of shots: static and motion. Static booming will most likely be an interview, and motion booming will be anything that has you following the camera operator around. Regardless of the style, all proper micing techniques apply.
STATIC SHOTS
For static shots your priority will be comfort. Standing through a 45 minute interview can be excruciating and embarrassing if you start shaking apart, not to mention the sound will be crap! You’re going to need some reprise during the ordeal.
The three booming positions I recommend will prevent you from getting fatigued. The booming positions that only use one hand are perfect if you need to make adjustments to the mixer. See Figure 6.18 to 6.20.
The three booming positions I recommend will prevent you from getting fatigued. The booming positions that only use one hand are perfect if you need to make adjustments to the mixer. See Figure 6.18 to 6.20.
- When booming a static shot, you want the side of your body facing the talent (hopefully this is your thinner width) - it’s less distracting.
- Use slow, gentle movements when moving between booming positions. It's important during static shots that you're not bouncing around, distracting the talent.
- Change booming positions every 30 to 60 seconds without moving your feet or mic position to prevent fatigue.
- Stand opposite the key light to prevent boom shadows (the key light is the brightest light source hitting the talent). If the key is on the right side of the camera, boom from left side of the camera. By standing away from the bright key light you won't be lit up like a christmas tree.
MOTION SHOTS
For motion shots the gloves are off! Anything that could possibly hinder your booming position will. Boom shadows will play havoc with your mic placement, being attached to the camera will force you to boom with only one hand and in awkward positions, and camera operators will complain about the control cable pulling on the camera. The sad truth is you're going to have to finesse all these things to achieve good results, and you'll be the only one who really knows how tough it was to get it.
The final framed shot dictates everything you will do, and the camera operator in most cases will not assist in making it easier. So don't complain, carry yourself professionally - hey, you may even get a "good job" comment.
Being attached to the camera via a cable is a pain for both operators. It's a necessary evil that you will need to address at the beginning of any motion shot. I always ask if the control cable is okay. Really, I don't give a rats #!%!*!! if they are comfortable, but it shows concern. My main concern is that I can operate effectively, efficiently, and not get tangled up, impeding my ability to record the best audio possible.
The final framed shot dictates everything you will do, and the camera operator in most cases will not assist in making it easier. So don't complain, carry yourself professionally - hey, you may even get a "good job" comment.
Being attached to the camera via a cable is a pain for both operators. It's a necessary evil that you will need to address at the beginning of any motion shot. I always ask if the control cable is okay. Really, I don't give a rats #!%!*!! if they are comfortable, but it shows concern. My main concern is that I can operate effectively, efficiently, and not get tangled up, impeding my ability to record the best audio possible.
Figure 6.18
Figure 6.19
Excerpt from LocationAudioSimplified - Chapter 6: How to Boom
Excerpt from LocationAudioSimplified - Chapter 6: How to Boom
Figure 6.20
