Sounds like a great idea, and I'd love to check it out when you finish it. I'm particularly interested in you cable management guidelines.
Many is the time I've had to work with an inexperienced boom-op. Usually a hapless runner or production assistant (indeed, that is how I got my first experience).
So I was thinking one day I'll get around to writing a 5 page manual (minute a page, see) and just hand it out to the hapless victim. Page one will likely deal with polar patterns and "point it at the mouth" kind of vibe.
If you were a hapless boom-op what would you like to see on pages 2,3,4,5 ?
I thought maybe-
2. How to hold/handle the boom and recover from fatigue. Dropping expensive mics is bad, etc.
3. Gaffer tape may be the answer to life the universe and everything but keep it off my boom poles and mics.
4. Cable management and how not to fall on your ass.
5. The differences between T-power and Phantom power and how to destroy a mic.
I'm thinking Rycote assembly school should be an entirely different class until a grounding in the Softie is acquired.
Sounds like a great idea, and I'd love to check it out when you finish it. I'm particularly interested in you cable management guidelines.
Sounds good. I can't wait to read it. You should write one for sound men that think they are supposed to plug their mixer into my Aaton. [img]wink.gif[/img]
Good Luck
A bit in there reminding them that the actors are the ones that should be on camera , not les boom
Here's version 0.1
5 Minute Boom-Op Boot Camp
You've been given a stick with a microphone on the end. Now what?
1. Point the microphone at what the camera is recording.
a. This will usually be someone's mouth since generally speaking production sound is about recording the dialogue as well as possible.
b. If someone is off-camera who cares if they are off-mic? The director is doing a reverse, right? Don't know? Open your mouth and ask (just not during a take, okay?)
c. Microphones don't have "reach" - they have polar patterns and interference tubes creating off-axis rejection. A ?1500 mic with great "reach" will not give you good sound for that ECU if you are 20 feet away from the talent.
d. Get as close to the sound source as possible without dropping the mic into frame and without causing a health and safety or a harassment law suit.
e. Know what the camera is framing. This may involve paying attention to what is going on around you.
2. Move the boom with grace and deftness.
a. If you bend your arms your elbows will not be locked. This may end up as a feat of personal endurance. Lock your arms. Cue the mic into position with your wrists, hips, and feet.
b. An abrupt boom movement will likely find its way onto the recording in the form of handling noise. This is a big problem when factored in parallel with 1a.
c. Know how to extend and collapse the pole before you need to do it in a pinch.
d. Know how to angle the shockmount to your advantage before you need to do it in a pinch.
e. Stay out of the light. Don't get wet. Don't eat after midnight.
3. Mind your cable.
a. Always keep some slack. A taut cable is stressed. Stress is known to be bad for your health.
b. What's that hum? Is the cable running over or near electric cable?
c. Leaving a trail of cable could take someone on a trip at the production's expense.
d. One of something is none of something. Know where the spare cable is before you need it in a pinch.
e. If in doubt throw it out. You can futz about with the continuity tester later.
4. Mic powering
a. Phantom ("P48")powering is a modern standard.
b. T-power ("AB") is a decades old standard but still common today.
c. The two standards are not compatible.
d. Do not plug P48 into AB and do not plug AB into P48. This anomaly may result in the destruction of the known universe.
e. Always doublecheck the type of mic and type of power supply before plugging anything into anything.
5. Gaffer tape
a. The gaffer is an electrician. You are a boom operator. It's not your tape.
b. Don't gaffer cable to the pole. Stand the pole on it's end and turn it around and around until the cable snakes nicely down the pole. Grip the cable with your hand at the end. Ask for a demonstration.
c. Don't gaffer a mic to bulk it out to fit an oversize shockmount. Insulation tape is far less messy.
d. Do use gaffer tape to stick trip-hazard cable runs safely to the floor.
e. Do use gaffer tape to tactically reduce unwanted noises.
<font size="2" face="Verdana, Helvetica, sans-serif">This is my personal favorite.Originally posted by miker:
e. Know what the camera is framing. This may involve paying attention to what is going on around you.
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