The Art of Zen-Boom

written by Mark Ulano Who Are They? - The Panel:

from his Pro Audio Review column Laurence Abrams
•
April 25th, 2000 • Rusty Amodeo
• Eric Carr:
"You can always tell the Boom Operators. • Patrushkha Mierzwa
Generally, they're the best-looking people on • Andy Rovins
the set, as well as the smartest and, usually, • Joel Shryack
the most interesting." • Jerome Vitucci
Andy Rovins, Boom Operator

How would you describe the prime

Among the job titles in the movie credit crawl you will
find the Microphone Boom Operator. Who is the Boom responsibility of your work?
Operator and what is the nature of his job? At the most
basic level, the Boom Operator is the person JS: Job one is to record the Actor's dialogue in a clear
responsible for interactive microphone placement as and natural way.
he floats his pole and microphone over the actors in a
dynamic dialogue situation. This description, however, PM: In its strictest sense, the person who operates the
barely scratches the surface of what these people (boom) microphone is the on-set sound department
really do. These specialists are unsung performance representative who designs the strategy for
artists more akin to the camera operator or focus placement and types of microphones. Furthermore,
puller in the kind of interface they must intuitively he interfaces with the director, the assistant
create with the on-camera talent. director, and related departments.

As is much of the work of the sound crew, the EC: No dialogue replacement
responsibilities of the Boom Operator are ill
understood even within the motion picture industry. JV: 1. My prime objective is to focus on getting the
The Sound Department is one of the few departments best possible sound product , often, under difficult
not hire-dependent on Camera. Every production may circumstances ( physical and emotional). I try to
have different expectations of us, so there is a create a comfortable and efficient working
greyness and changability as to where we stand in the environment, within the sound department, as well
heirarchy. Maybe this has to do with the intangibility of as with the entire production, to achieve this goal.
sound as a medium or a vagueness to the general
lexicon of sound. Or, maybe it is just because, AR: The prime responsibility is to conceive and
technically, it is possible to defer solving the sound execute a plan for miking the shot. This is based on
challenges to the post production phase. Whatever the observation of rehearsals, knowledge of the shot
case, eventually sound must be seamlessly and the Director's plans for coverage of the scene,
incorporated into the final work and preference for the of the DP's [Director of Photography] preferences
sound of the original performance is still dominant. It is and lighting technique, of the sound mixer's
within this environment that Boom Operators must philosophy of recording and observation of the
work to achieve excellence, operating with stealth, environment.
dancing between the raindrops in a non-sound-centric
work space among dynamic egos, many of whom are RA: To place the microphone in just the right place so
not remotely interested in the Boom Operator's that the best quality sound can be recorded. This
professional mission. includes matching the background of the dialogue
so that scenes may be cut without a drastic change
I thought I would shed some light on these Njinskys of in the background noise floor.
sound by talking to a few of them and getting some
insight into their world. They tend to be a thoroughbred What should be the nature of your relationship with the
bunch, salty as buccaneers and serious as samurai. I Production Sound Mixer? The Director? The
have found that people in this line of work have some actors? the sound utility person? Others?
important qualities in common: a passionate pride in
their work, finely honed team skills and well developed JV: The Boom Operator is the Sound Department's
senses of humor. I believe that their answers can be of eyes and ears on the set. Shot after shot he or she
use to anyone attempting to understand what it takes performs on the front-line, in the trenches of film
to record quality production sound for film or tape. sound production. The efficiency and timing of my
decisions are very important factors in gaining the

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 trust of the mixer you are working with. I believe me, short of the current nuttiness about sexual
that the boom Operator is to the mixer like the harassment.
Camera Operator is to the Director of Photography.
Directors: "don't piss them off" EC: The mixer- I protect his mix and he covers my
Actors: "don't piss them off" ass ...
Utility person: Well, if the shot calls for it "piss them
off", but take them out for drinks later. RA: Mixer: Some mixers want the boomer to be their
eyes, ears, AND voice on the set. If notes are to be
PM: Inside the department you are the mixer's passed on to the Director/Actor/Script Supervisor,
teammate, outside of the department you are his etc., some mixers want the Boom Operator to
ambassador to the set. The mixer is the head of the perform this task. Others want to be the sole
department and it is his reputation or contacts that person who interacts with the other department
have procured the work. heads.
Director: This depends on the Director's personality Director: Obviously, the director looks to the Boom
and style of work, how he likes to get information, if Operator on the film set as the voice of the mixer
he does, and from whom. Some directors prefer during a take. Is the plane flying over head OK or is
you to communicate through their assistant it unusable? Hopefully, if it is bad for sound, it may
director. have been bad for the acting of the scene as well.
Actors: I try not to need anything from them at first. There is a time and place for everything, however,
This is to give myself time to watch them interact and knowing the right moment to get the Directors
with others and assess their state of calm or attention for a much needed communiqué takes
nervousness and their comfort level with the crew. patience and an acute sense of timing.
You should be memorizing actors lines and Actor: The actor's first impression of you as a
movements, always being ready for ad-libs (some boomer is the most important. If they don't feel
actors are chronic). comfortable with you placing a mic on their person,
The Crew: lighting-you should know the names of you'll have a difficult time with them for the rest of
the light units to be able to talk about adjustments the shoot. Not to mention the fact that they'll tell
with electricians and grips. The same is true for other actors, the director, executive producers, and
camera lenses. Be aware of the number of the assistant directors about their concerns with
cameras being used, whether head or tail slates your job responsibilities. In the case of Barbara
have been chosen and so on. It is also very helpful Walters on a last minute interview shoot at Jay
to have costuming knowledge to be able to discuss Leno's house, the simple approach of "I need to
problematic fabrics, designs, and radio mic place this mic on you," didn't work. Barbara is a
placements. Knowing enough about everyone's job very elegant woman and entered with an entourage
to be able to tell when you're being bullshitted and of people showing her wardrobe for selection. She
to be able to offer suggestions. said, "Give me the mic and I'll do it. " I responded
by showing her exactly where I wanted her to place
JS: Directors, Actors, Producers, Extras, Assistant the mic, where the cable was to be run and how.
Directors, and even Production Mixers can, and will She gave the mic back to me and asked me to do
impede your efforts. So become a diplomat, eat it. As I placed the mic on her I mentioned that
humble pie, and get these people on your side. working with her was like working with Nancy. She
Nothing will happen for you if you fail in the set said, "Nancy who?" and I responded with "Nancy
politics. Neither your technical prowess or Reagan." I had previously worked with Mrs.
memorization of the script will bridge the gap here. Reagan on a Bob Hope Special. At that point I had
A key attitude in my politics was to try and her trust and had no problems asking her for time
understand everyone's job and enjoy their pursuit to readjust her microphone for the rest of the shoot.
[of excellence] as well as your own. She knew that I was a professional interested in
getting the best sound possible for the occasion.
AR: The Mixer: He's your boss, and what he wants is
the right answer. It is good to work with a mixer How do you prepare for your work?
who trusts you and grants you a certain level of
autonomy. PM: It is very helpful for the Boom Operator to observe
The Director: Our basic mission is to help the the rehearsals, although you must always be
Director realize his or her vision. If you relate well prepared to wing it. I swear by a full workout every
to a director you might get free drinks back at the morning before a job, no matter what the call time. I
hotel, or Christmas cards, or work on his next sometimes attend technical scouts learning about
picture. the politics and personalities in the process. I chat
The actors: Actors are sensitive souls, even when with friends who have worked with the upcoming
they are raging egomaniacs. It's hard not to make crew/cast, if I don't know them to get a better idea
friends with them, but have sex with them at your of the human dynamic. I also read the script before
own risk. the first day and I offer my thoughts and concerns
The sound utility person: I treat the Utility person to the mixer.
the way I would like my superiors on the set to treat
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AR: Read the script. Maintain my gear. Get enough JV: You need to know where the light is coming from,
sleep. Pay attention. who or what is it lighting? Does the light(s) cause
problems with shadows or reflections that I can't
JV: Reading and memorizing the script ( although I resolve? Will they prevent me from getting good
frequently find myself doing this simultaneously with sound? What do I need to do to get it adjusted so
watching the first rehearsal) , have prep discussions that I can do a good job, e.g., Request flags or
with the mixer, have prep discussions with the utility cutters, speak to the DP or Gaffer. It is worth
person, prep my equipment. Meet with production making a few of your colleagues uncomfortable, for
office staff to discuss deal and do my paperwork. the moment, in order to solve the problem, than for
Meet if possible certain members of the AD, all of us [the sound department] to be in the hot
Camera, Electric, Grip, Prop, and Wardrobe Depts. seat at dailies. Knowing what lenses are seeing,
to resolve any issues directly related to my job and how their imaginary frame lines change with
function, e.g., Safety, Rigs, Costumes and radio every move of the camera, and the actors. I don't
mics etc. have the advantage of keeping my eye up to the
eyepiece, while the shot is taking place. Although I
LA: Get as much sleep as possible. will occasionally use a small video monitor, during
the take. Also, being instinctual is helpful.
EC: Stoned as a race horse.
AR: Your freedom of movement is limited by the
RA: First, I want a good nights sleep. Then, I walk lighting, so a knowledge of the basic physics of light
around the house with a broom handle with a and shadows as well the characteristics of point
bucket on the end. Each night I add weights source and diffusion are essential.
progressively to build up the sustaining of holding a
pole above your head for long shots. What is your philosophy of microphone
placement?
What do you need to know about lighting
and lenses? PM: To create a "natural" interpretation of the dialogue
and effects present at the time of shooting while
LA: I would like to expand the scope of this question minimizing noise factors.
because I think that booming, and sound in general,
requires a broad understanding and awareness of JV: The magic of microphone placement is
virtually all the elements that go into production. consistently finding your microphone's sweetest
And in this, I think we are unique amongst our sounding spot in the most unobtrusive manner. In
brothers and sisters on the crew. Typically, other words, if you (as any part of the production)
wardrobe doesn't care or need to understand what have no awareness of my presence (and you loved
the grips do, and electrical doesn't need to be dailies) I have succeeded.
involved in what the script supervisor does. But we
need to know the lighting and we need to AR: There's no one right answer. I like to mike in a
understand how lights are controlled so we can nearly vertical position because it's allows the
communicate our needs about cutting or controlling easiest adjustments for head turns and other
lights that produce shadows. We need to know the movements of the actors. It also permits smooth
lenses and we need to understand what the camera cueing to the other actors with a minimum of
operator is doing so we can adjust our movements change in the background. But this can all vary with
as the camera dollies, zooms, pans and tilts. We the lighting, the actor's physicality, the physical
need to tune into the director and into the specifics limitations of the set , the noise of the location, and
of the actors' performance so we know the blocking the frequency response patterns of the mike. Plant
and know when the timing or the dialogue is mikes work where you can find a natural-sounding
changing. We need to know how the script place. Lavs are best in mid-sternum, but this can
supervisor assigns numbers to scenes as much as also be a function of the wardrobe and the actor's
how to communicate with wardrobe over issues that predilection for talking to his feet or somebody
involve placement of radio microphones on the behind him.
actors. We need to work with the prop and set
dressing departments to solve noise-making RA: There are many tricks to the trade. If you have an
problems and create opportunities for planting actor who frequently whips his head around, play
microphones in the set. Even the location manager the mic in front without too much movement to
will hear from us while we work out issues that keep the sound of the dialogue consistent, and
involve unwanted sounds from the building or therefore the background consistent as well. This
location where we are shooting. I believe that when technique was especially useful on Designing
they are doing their job well, the Sound Department Women when I boomed Meeshack Taylor. His head
becomes far more involved with and knows far whips were never in the same place twice so I
more about all the other jobs on the set than any of needed to play a middle field position so as not to
them know about ours. miss any dialogue. Check with wardrobe in
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 advance of the scene, or the day for that matter, to How does one become a Boom Operator?
look at the clothing actors are wearing to determine
type of material (problems with silk), pockets for One might assume that learning this craft begins in
hiding transmitters, pre-cut holes for running of mic film school and yet many film students won't even take
wires or antennas, hard soled shoes for padding on the job of boom person during student productions,
heavy hoofers. If the scene is between two actors as if doing so would be demeaning. Thus boom
and one is louder than the other, place the mic operating has remained an esoteric craft learned by
closer to the low level person and aim at the higher the ancient process of apprenticeship combined with
level person when they talk, thus evening out the modern-day trial and error. This and other phases of
overall level. An old rule of thumb is while booming film sound are often defined as menial or "merely
a person that is on-mic, look at the other actors for technical" and interpreted as "not creative". This is an
they will telegraph with body gestures just before unfortunate misconception since all creative work is
they are about to speak. This is especially helpful technical. Musicians must learn the technique of their
while booming Soap Operas since many times, at instruments, Painters, the technique of color and
the end of the day when time is a factor, NO texture, photographers- light, dark and photochemistry.
rehearsal of the scene takes place. Usually, at the Sound people are no different. Assimilation of
network Soap Operas, scripts are not used by the technique can be the doorway through which fine craft
boomers. At the end of the day, you find yourself trancends itself, regardless of the medium. Movies are
rehearsing on tape, so the body gestures really hand-made and boom operating is the proof.
help to make sure there isn't an off-mic situation.
Sometimes, the booth buys the one and only take That being said, the world of movie making is clearly
made for that scene. one driven by commerce and in that world, the highest
practitioners of the boom arts can earn triple or
What are the tools of your trade? What quadruple the salary of a tenured college professor.
equipment do you prefer and why? This is not some charitable accident. The economic
responsibilities of Boom Operators are substantial.
JS: It is not necessary to get picky about brand names They are charged with safely capturing the
and pick up patterns, all professional microphones spontaneous performances of some of the highest
have good quality, like all hammers will hammer, it's paid humans around. The per minute cost of downtime
the carpenter who puts the touch to it. The for retakes on $20,000,000 talent is astronomical. The
subtleties of technical details will come with Boom Operators must try to get it the first time, every
experience. time. This does not downplay the essential partnership
with ADR (looping) and all the other stages of post
EC: Boom poles and common sense. production sound. It just emphasizes the value placed
by many filmmakers and actors on capturing the
original performance.
PM: My favorite boompole, wired inside, a loose-fitting
pair of head phones so I can shrug off/on the ear
closest to the camera. I loved my Sony DRM5s into Talk to us about the politics of the film set?
oblivion for that reason, but they stopped making
them years ago. I like comfortable, loose, but not AR: It starts with knowing when to keep you mouth
too loose, clothing with pockets, often in black to shut. The rest you figure out unless you are socially
avoid reflections. I prefer sweats and tennis shoes challenged.
with quiet and good thick soles. There is a lot of
walking/running/running backwards involved. JV: As far as the politics are concerned, using the
skills that you already use in day to day life is a
AR: My tools include headphones, mikes, Fisher good start, especially if you have been surviving
booms, wireless mikes, fishpoles, connectors, successfully. Film politics have a thousand-faces,
gadgets, Leatherman tools, Velcro. As far as and change from project to project. Some days are
equipment is concerned, I believe that the main a pleasure. On other days you are dodging bullets,
difference in microphone selection is actually a as the hierarchy's behavior rears it's ugly head, and
function of ease of operation. If you can watch a the ego-satisfaction level supersedes the creative
movie and tell what mike was used there's a and practical process on every level. Even with all
problem. That being said, I prefer Schoeps mikes that, the " patient will not die". I and we will all
because they are still the most transparent mikes survive.
made. I like Fisher booms because they are a great
tool. It helps keep up the awareness that you are JS: ...Remember, you are equal to all the people
performing highly skilled work. working with you, but you are not equal in respect
to the process of the film. The filmmaking process
JV: The tools of my trade, aside from the obvious, are has it's hierarchies. They are spontaneously
a high end Espresso machine and CD Player. dictated hourly by the realities of this huge
Everything else belongs to the Mixer. I prefer to undertaking. Be it a cranky actor, noisy special
have a large heated and air conditioned trailer.
4
 EFX, or losing the light, learn your spot in this conveying a story through film. This, indeed, is the
context as opposed to making it a people power list. magic of filmmaking. "It's only a movie... no one
really gets hurt." Unfortunately, I think that during
PM: Everyone needs to understand the particular production on the set there is an element of false
hierarchy and film politics going on in the company reality that somehow believes that, there too, no
you are working for. These are not necessarily the one can really get hurt. We often find ourselves
same thing. Diplomacy is a must, but so is knowing doing things that I believe are truly unsafe, but for
when you can be ballsy and have it work in your some reason, we do them anyway. Is it because we
favor. think that it's only a movie and no one really gets
hurt? Is it simply because no one wants to appear
How physically demanding is this work? the sissy? For whatever the reason, it happens
frequently and the Boom Operator is often placed
in a less than ideal situation. I think that accidents
PM: Extremely. One of the least understood aspects of that have occurred in recent years have instilled a
our work is that the Boom Operator must be fully somewhat greater safety consciousness on the set,
functional in order to take a job in this free-lance but it is nowhere near where it should be.
world. Most others can have broken lims,
backaches, be pregnant, have allergies, with stuffy,
PM: I work with fitness specialists or physical
congested heads. The Boom Operator is a
therapists looking for better ways to do something
performance artist like the actors, without the
or special exercises to strengthen specific muscles.
leeway of having outtakes. Many directors are
For FX shots- Having seen people be seriously
concerned if a steadicam operator has his weight-
harmed or die, I am not shy about planting a mic or
balanced rig on, ready to work, but I've never heard
asking the mixer to call it MOS [filmed without
anyone in my 70 features ever say ,"let's go,
sound recording]. In EFX smoke situations I've met
everyone, the boom is up". Sometimes, it seems
very few special effects people who have the level
like we are invisable.
of knowledge I'm comfortable with. By now I own
several masks and goggles for various vapors. This
JV: It is extremely demanding and often painful, is a much-neglected work hazard in our business.
maybe even extremely painful. Holding a pole Also, for driving scenes with actors at the wheel-I
above your head for 12-16 hours per day, in some stay v-e-r-y far away.
countries of the world, is punishment for criminal
behavior. Oh, please can I be a Boom Operator?
AR: Try not to piss off the drivers, grips, or wardrobe
Certainly not everybody's' choice of employment.
people (they carry scissors). Avoid working on
Remember to read my new book soon to be
music videos. Practice common sense.
released, " Zen Boomism and the Art of Pain" or
"How To Keep The Divine Pole From Floating
Away". Can you talk about the craft of using the
Fisher Microphone Boom?
LA: Boom Operating is, indeed, physically demanding
work. The fatigue that results is not simply LA: When not forced into using a fishpole (for reasons
concentrated in the arms and shoulders, as one generally having to do with space limitations,) the
might guess. Holding the pole over one's head for Fisher Boom is a far superior method of controlling
long takes, over and over, does of course take it's microphone placement. (Note the possible
toll on the upper body. But I find that a Boom exception of the CueMaster... for details, see Steve
Operator experiences an overall fatigue resulting "Rabbit" Schuneman, the only person I know who
from a variety circumstances. In many cases, you admits to liking this unwieldy thing. In spite of my
find yourself wedged into a tight corner between hot skepticism, however, it is a superb alternative when
lights and C-stands, or folded like a pretzel while operated by someone who knows how to use it
hiding under a desk or in the back seat of a car, or well.) The Fisher's long reach and multi-axis cueing
perched precariously atop a 12-foot ladder reaching controls allow a great deal of flexibility and when
over across the wall of a set. Add to that the long the goal is to keep the microphone in front of the
hours and, of course, the ultimate enemy of the actor, that kind of cueing control is essential. But in
Boom Operator... sore feet... and sometimes it adds the evolution of the filmmaking process, some
up to a pretty long day. changes have taken place in recent years that have
effectively robbed the Boom Operator of this
How do you deal with situations that are effective tool. Cameras have gotten smaller and
potentially dangerous to your body? lighter, film speeds have improved requiring fewer
lights, and the lighting equipment has gotten
smaller... all these things have contributed to a
JV: Be smart, avoid them if you can, get hazard pay if smaller and leaner production package and the
you can't avoid them. No shot is worth it. crews move faster as a result. It is perhaps for
those reasons that in some venues, and
LA: Fantasy and "suspension of disbelief" are terms commercials are a prime example, the Fisher Boom
often associated with the creative process of
5
 looks to some crew members like an unnecessary because of the parallel position to the set. When
old-style relic that takes up too much space on the operating from the Floor, usually on videotape
grip truck and gets in everybody's way on the set. shows, the arms typically 23 to 26 feet to extend
The producer will want a specific reason as to why beyond the camera operators. The origination of the
they should pay the extra money, albeit very little, boom arms on the 'greens' came from the Lucy
and the grips will want to know why it can't be done show when Cameron McCullock suggested
with a fishpole, not that they have any right to ask. relocation of the arms for better audience viewing.
And the simple answer that "this piece of equipment Good three dimensional depth perception is a must
will allow the microphone to be placed more when operating from the Greenbeds. Film shows
accurately" will simply not suffice. There is no typically use boom arms on the Greenbeds. Most
excuse for this, but you'll almost never see a Fisher videotape shows, Soap Operas, Live Interview, and
Boom on a commercial and you frequently won't like use the booms on the Floor since lights are
see it in other situations that would have benefited usually hung on dead-hung pipe and no Greenbeds
greatly from it's use. exist.

PM: It is a dying skill in feature, MOW, many TV What do you need to know about radio
series. The Fisher Boom takes the weight off the microphones?
body of the boom operator and an assistant pushes
it as needed. The skill in learning the pulley system
and hand controls is really minimal. In some JV: Radio mics are our friends. Don't be afraid of them.
situations the retractibility offers advantages; once a They are just another tool, but quite a powerful tool.
boom operator with a fishpole selects a length of I love being part of a wireless sound department.
pole, it is set for the entire shot, but the Fisher [MU note: This includes full time wireless boom]
retracts during the shot and essentially can go Free to fly, free to fly. Remember you are the
around lights. Its good for marking territory, too. microphone placement engineer. Optimum
placement for the body mic is still very important,
avoiding clothing noise, and not burying them. Give
JV: I don't have enough time to elaborate thoroughly,
them air. Understanding the actors' needs is critical
however the Fisher Boom is a wonderful toy, and I
in making your body micing days comfortable.
love to use it. Unfortunately, most of today's
Being Stealth is what you have to be. Don't Futz
features, and even commercials, don't provide
with the mics or the actors too much. Get it right on
enough opportunities for their use. Locations,
the first try. Many an actor or actress doesn't like
logistics, politics and budgets are often prohibitive
them because they are uncomfortable. On some
factors.
occasions they feel that their privacy is at stake.
Sometimes they are right.
AR: A little bit of instruction helps, but most technique
comes through practice. Unfortunately it's become
PM: We have to put them on anyone wearing
a lost art in single camera. One important trick is
anything, and have them sound true and quiet. We
finding the right position for the boom. and then
need to know how to monitor the signal and power
picking the right time to park it there.
of the transmitter and receiver, also how the mixer
configures his cart and antenna(e).
RA: There are two ways to set-up the cueing (left-right
motion) of the mic. If the arm is set-up so that one
AR: Feng shui. Knowledge of electronics and RF
must rest the cue lever on top of the hand between
transmission physics help.
the thumb and the first finger and push UP to cue,
then this is considered "film style". If one rests the
hand on top of the cue lever and must push DOWN JS: Don't hate radio mics, they are your friend. I
to cue, then this is considered "tape style." always thought the easiest rig was best. Avoid
Everyone has their own preferences. With the complicated gobs of tape, moleskin, etc., in the end,
introduction of the articulator back in the early extra added material will usually give you extra
1980's, a Boom Operator adds another possible added noise. The best exception to that rule is a
hand cramping dimension to the boom. This device, kind of putty, made as a weatherseal for windows, it
originally produced for operators in England in the will bond the mic to fabric, and dampen induced
late 1970's, allows the mic to move in a vertical noises from the fabric and the cable. Your choice to
fashion. This helps in following actors up a flight of use radio mics will sometimes depend more on the
stairs, and also for booming children next to tall Production Mixer than the Boom Operator. The
adults. There are now four different size arms Mixer has to blend the darn things, and some are all
available: 16', 20', 23', and 26'. In addition, some thumbs on the faders. Cater the micing complexity
operators incorporate an offset to get an extra foot to the Mixer's ability to blend all the plants, radio
out of the arm, but careful attention is in order for mics, etc. Remember, if they can't mix it, they will
balancing the arm to avoid tipping the tri-ped dolly probably think you are just an idiot, rather than oh
over. On sitcoms, the Fisher Boom may be my, my mixing chops are weak!
operated from the Floor or from the Greenbeds,
called because of their color (also called "Parallels"
6
What makes a Boom Operator good? about it.

JV: Great Boom Operators Are Born, Not Made! What advice would you give to someone
interested in a career as a Boom Operator?
PM: Being amicable, intuitive, knowledgeable about
other departments, having a work-together attitude. JS: Booming is a great job, you get to see the whole
Humor and a sharp wit don't hurt. You also need project being made right before your eyes, you hear
stamina and a good temper. it better than anybody else, and people always
come up to you and say, Boy your arms must be
AR: Paying attention, experience. A good Boom strong!
Operator is regarded as someone who reliably gets
quality sound with a minimum of disruption for the EC: Don't.
production.
PM: Assess whether you are good at multi-tasking,
EC: Focus, intuitive reasoning and prior preparation. being able to constantly split your focus, being able
to think ahead, being able to visualize multiple
LA: There are many qualities needed to be a good solutions for any particular task, work out, work out,
Boom Operator, but it's surprising to many people workout. A kick boxer apprenticed with me and
that one seemingly obvious characteristic is actually didn't have enough stamina! "Failure cannot cope
NOT required. Many people think you need to be with persistence."
real strong to hold a fishpole over your head for
long periods of time. Yes, it's hard. But, no, it's not JV: Assist a good Boom Operator for a substantial
all strength. I've seen small Boom Operators hold a period of time. Be sure that a Boom Operator is
pole steady for seemingly endless scenes, take what you want to be. You may be doing it for a long
after take. And yet, in situations where an extra time. Booming, could be but, is not necessarily a
Boom Operator was needed, I've seen a very buff pre-requisite to becoming a-mixer..
production assistant or craft services person
pressed into service and I've watched them grit AR: There are too many of us as it is. Apprentice as a
their teeth together and arch their backs in pain only utility persona and pay attention.
moments into what I thought was a not-very-
demanding scene. It becomes apparent that there
is truly an art to holding the pole. When asked to What has been the most rewarding situation
explain, however, I am at a loss for words. Don't you have ever experienced in your work?
lock your arms? Use the forward arm for support
and control the pole with the back arm? Don't PM: Hearing my husband, the mixer, rave about me to
freeze into one single position, stay relaxed, and someone we didn't know well. Also, the time I
shift your weight occasionally during the take? choreographed a master so well with the camera
Easier said than done and I think there's probably a operator that everyone saw shadows throughout
lot more to it than that. In the end, I think it's like the take, but none were in frame!
many of the jobs that are performed on a film set:
no one can tell you how to do it... it's something you JV: Booming a fast paced, 5 minute, 360' steadicam
learn over time... you have to just get the "feel" for shot with Larry McConkey, in the 1 1 O' Brazilian
it. Rain Forest, on " At Play In The Fields Of The
Lord", would be one my most rewarding
What is worst cardinal sin a Boom Operator experiences. I felt a tremendous amount of
can make? exhilaration after successfully completing several
takes. Starting with a 100ft. Dolly move and
continuing to boom a five page scene with the late
PM: Projecting less than a cohesive department to Ms. Lillian Gish, on "Huckleberry Finn" was
outsiders. spiritual. She practically never had to refer to her
script. She was in her 90's at the time. Standing on
LA: Talking too much. (Especially if you are telling the a scaffold 10-1 2ft. in the air booming Jason
actor how to do the scene.) Robards 1 1 minute take of Eugene O'Neils "
Iceman Cometh" was something else. I wasn't sure
AR: Not paying attention. if I was crying from the pain or the performance.
Being hired again, again, and again.
EC: Imagining a shot could be "easy".
AR: I boomed on Driving Miss Daisy, which went on to
JV: Don't fart on set, and definitely don't hit on the win Best Picture. It was a great experience working
actors. ( especially the leading ones). No matter on such quality material, with actors like Morgan
how many times they ask you, "How do you that" , Freeman and Jessica Tandy, and a director, Bruce
or "Oooooooh, you must have strong arms", forget

7
 Beresford, who really cared about sound and
respected our needs. On a tough 41 day shoot the
only looping was for performance by some of the
actors in smaller parts.

EC: Watching my mixer pick up his Emmy's

RA: Carefully planning several plant mics and boom

positions to work in such a way that all production
dialogue is usable. On "East Of Eden" (a Movie-Of-
The-Week for ABC Television) we recorded Foley in
real time to get all the sounds for the scene. The
mixer was Bud Alper and the Boom Operator was
Gene Ashbrook. I was a Sound Utility person at the
time. The Scene started out with a large open field
of livestock. Timothy Bottoms emerged from the
forest, screaming and waving his jacket over his
head, towards his brother, played by Bruce
Boxleitner. I ran, just out of camera frame,
approximately 100 yards slightly in front of Timothy
with a Sennheiser 815 handheld shotgun mic.
Gene's fishpole was over Bruce. The camera was
on a 50mm on a Titan crane starting at a high point
and then lowering to include the two brothers when
they embraced. At that moment, because of the
wide angle, we could not get our mics close, so
Gene and I hugged each-other, with my mic in hand
to mimic the patting of the back. When the two
actors ran off towards the short wood fence in the
distance (unrehearsed), we Foley footstepped their
feet which included the jump over the fence. When
the scene was completed, we received applause
from the crew for our performance...very rewarding
indeed. [MU note: do not attempt this at home]