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Old 01-25-2017, 03:21 PM   #16
WalterB
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Originally Posted by harmonica44 View Post
Sure. I was recommended the internal wire pole by a boom op i worked with before, so I wanted other opinions. But if the external is the way to go cause it makes less noise, then I will go with that.
The amount of noise depends on the operator.
An external wire will make it easier to tackle noise caused by the wire hitting the boom (which is caused by the operator).
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Old 01-25-2017, 03:27 PM   #17
harmonica44
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I never had a problem with the wire making noise as long as it's twirled tightly around the pole. The only noise problem I had with the DIY pole is part the shock mount was hooked on would make noise sometimes, as well as the hook in the pole that catches the extension, since I was using a painter's pole.
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Old 01-25-2017, 04:10 PM   #18
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Originally Posted by harmonica44 View Post
I never had a problem with the wire making noise as long as it's twirled tightly around the pole. The only noise problem I had with the DIY pole is part the shock mount was hooked on would make noise sometimes, as well as the hook in the pole that catches the extension, since I was using a painter's pole.
Therefore external wire is what you're experienced with. You should stick with what works for you.
Get a real boom pole with an external wire.
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Old 01-25-2017, 04:52 PM   #19
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Settled that.
Next:

your homework.
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Old 01-26-2017, 03:58 AM   #20
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Okay thanks. I was told before recently that if I cannot find a pro boom op to make a short film, I should just get a friend to help out. If I get a friend to help out, what would be the better job... for me to boom, while the friend is behind the camera, for me to be behind the camera, while the friend booms.

That is if I can set up the shots with enough light, so I not much focus pulling is involved of course...
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Old 01-26-2017, 05:39 AM   #21
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You can't direct from the boom's perspective.
If you are directing only what your camera sees is real.
I don't say it often, but if you can't figure THAT out yourself...
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Old 01-26-2017, 10:49 AM   #22
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You can't direct from the boom's perspective.
If you are directing only what your camera sees is real.
I don't say it often, but if you can't figure THAT out yourself...
Feel free to laugh but I direct and boom at the same time.

People want to use the camera, they think it's cool and they'll help out with the camera.
NO ONE wants to hold the boom and help out with the boom. it's just facts of life for me.

I can't get anyone to boom but i can get someone to camera, so I take what I can get.
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Old 01-26-2017, 02:39 PM   #23
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Yes I have figured that out for myself, but I also find myself having to make compromises as well. I directed my first short holding the boom in some parts. Is that bad? I don't mind personally cause I am use to booming a lot more. But yes, I cannot see through the camera, and will have to pause to go over footage, instead of just keep going, take after take.

Do you think that pausing to look it over would delay too much time maybe?

Last edited by harmonica44; 01-26-2017 at 02:44 PM.
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Old 01-26-2017, 06:03 PM   #24
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Feel free to laugh but I direct and boom at the same time.

People want to use the camera, they think it's cool and they'll help out with the camera.
NO ONE wants to hold the boom and help out with the boom. it's just facts of life for me.

I can't get anyone to boom but i can get someone to camera, so I take what I can get.
I'm not laughing at all. (There is a 'sad' truth is what you say.)
Mel Gibson acts and directs, but he is smart enough to first communicate what needs to be shot and then watches what has been shot. I guess you do that as well.
H44, however, is the champion of assumptions. And assumptions are the mother of all f%^$ ups.
So if he is not shooting, he needs a monitor, otherwise it will be a mess AND everything will take to much time.
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Old 01-26-2017, 07:09 PM   #25
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Yeah I can get a monitor and playback everything that has been shot after, if that's best. But I felt that constantly playing it back after it's been shot, took more time, but if it's worth it I can do it again. On my first short, I wasn't behind the camera most of the time, and I had to play all the takes back after, so is that the way to go?

Last edited by harmonica44; 01-26-2017 at 07:17 PM.
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Old 01-26-2017, 08:42 PM   #26
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so is that the way to go?
Nope. You should know that after 6 years of experience.
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Old 01-26-2017, 09:13 PM   #27
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Well I have to make compromises and if picking up the boom is one of them, than that's one of them. I was told before on here I have to do what it takes to make things work. So why is me suggesting a compromise, so bad? I am told to make compromises, so I ask about certain compromises, then I am told not to make them, once I have decided on what they are.

I want to make compromises here and there to get it made, but as soon as I ask about them, the answer is "don't". But how do I get the movie made if I don't?

I am trying to not be Mr. perfect, and make compromises to do what I can but I feel like I am being told 'don't', to often and it's limiting the advice I was given to not make excuses. Wouldn't me not picking up the boom if I have to, and then looking over the footage later, be an excuse?

Last edited by harmonica44; 01-26-2017 at 09:26 PM.
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Old 01-26-2017, 09:25 PM   #28
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Yeah I can get a monitor and playback everything that has been shot after, if that's best. But I felt that constantly playing it back after it's been shot, took more time, ........
As long as you 'felt' it took more time to stop shooting and watch the shot instead of that you know it does, it is a compromise that will ruin whatever time schedule you try to make.
Once you know that stopping everything and watching every shot takes time (up to 5 times the amount of time it took to shoot that take (unless you want to ask opinions online, then it takes 1000x), you might be able to handle it.
Remembering you complaining that you had 1) not enough time to shoot and 2) you couldn't see what the DOP was shooting until after shooting, it seems that you need to be at the visual helm instead of quadrupling your shoot time.

Or, you just shoot it like this if it is the way to make you go and shoot stuff: go for it!
I don't want to stop you!
What will you shoot next?
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Old 01-26-2017, 09:29 PM   #29
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I can try to find someone who can rotate the boom from actor to actor properly, but it's been hard. Mostly it's only needed for the mastershots and action oriented shots. If it's an OTS or close up for example, I can keep the mic on the actor who's face is in the shot.

I am either going to shoot the short film script next, or one of the poems from the site that was suggested to me. A lot of the poems have imagery in that I do not have in my area, and was thinking of making changes, but if I do, it makes the poems not gel as well somewhat. But either that or the short film script. I am waiting on responses on that one.

I also have a musician wanting to do a music video so far.
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Old 01-26-2017, 09:37 PM   #30
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I don't want to put suggestions into your head, but I've quite often been the dolly, camera operator, focus puller and not so much the boom operator (we normally just hot shoe the shotgun mic or strategically lay the mic down where it can be hidden from camera) but audio monitor all at the same time. Good times. You gotta do what you gotta do haha. But I've also been paranoid when I don't monitor my own audio because I'm used to hearing what the mics hearing via headphones. It comes down to trusting the other operator and/or teaching them.

Last edited by shortboy; 01-26-2017 at 09:43 PM.
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