Week 6

7 September 2007

Today was the second time we did the show involving a presenter, a cooking segment and an interview. I was put into the role of cables and Boom. This was the first time other than the tutorials that I actually got to use the boom in a production which proved very helpful as I am going to be in this role for the childrens show. After figuring out exactly how to work it, I found it fairly simple and was happy with how I went, even though I imagine my uses for it will be very different come the childrens show. I found it quite nerve racking at first, espescially moving it up and down, worrying that I would drop it on a camera person's head. Doing cables was fairly straight forward although some of the moves from the camera's meant we had to always be on our toes.
I did some research on the uses of a boom and the role of a boom operator. Working either on location or on a studio set under the supervision of the Sound Supervisor/Production Mixer, the Boom Operator's main responsibility is to control the long boom arm, either hand-held or dolly-mounted (on wheels), with the microphone attached, manoeuvring it as close to the action as possible without getting it in shot. They may have to learn the script in order to anticipate lines and to move the boom arm accordingly. They are responsible for fitting radio microphones to artists, for placing microphones appropriately for a required shot, and for keeping Recordists informed of changes on the set. Depending on the scale of the production, Boom Operators may also have to make simple recordings and undertake basic repairs. Boom operating is not only about positioning microphones, or following the instructions of the recordist/mixer. It also involves accurately hearing sound, knowing what the camera is shooting, understanding camera lenses and focal lengths, etc. An understanding of basic lighting techniques is necessary to understand how to avoid casting boom and microphone shadows on artistes and set. Knowledge of lens sizes and camera angles is required in order to understand the frame limits and to keep the microphone as close as possible to the artistes, but clear of the picture. Although hours are often long and irregular, the role can bring great personal satisfaction, particularly when working as part of a team to create the best possible product.

Reference: http://www.skillset.org/tv/jobs/technical/article_2791_1.asp