By Anthony Artis, Author, Filmmaker

1. Check your frame line with the cameraperson before shooting, then get the mic as close as possible without getting it in the frame.

2. Keep the mic pointed directly at your subject’s mouth.

3. Wear over-the-ear headphones whenever possible.

4. Regularly check for visual cues and feedback from the mixer and cameraperson.

5. Allow enough xlr cable slack to move as freely as necessary, but not enough to trip. Try to get an assistant to wrangle cable if there will be a lot of unpredictable movement.

6. Anticipate your subject’s movement and be prepared to quickly follow. Keep your eyes on the cameraperson and mixer to avoid getting in the shot or yanking the xlr cable.

7. Spiral xlr cable around boompole and secure all loose cable to help avoid cable noise, handling noise, and trips.

8. Assume comfortable feet and arm positions. Relax.

Good Boom, Bad Boom

While it may not be rocket science, booming is a skill that can make the difference between professional quality sound and amateur radio hour. A good boom operator must have stamina, a good ear (and eye) for to detail, and should keep the following in mind:

This an example of how NOT to boom mic. Keep your mic pointed at your subject’s mouth.	Pay attention to lighting to avoid boom shadows on your background or subject, especially their face.	Booms can be very distracting to subjects. Use a lav mic when possible for controlled set-ups where your subject is not moving, such as interior interviews.

Spiral the xlr cable around your boompole and secure with tape or girls elastic/ball hair ties to avoid cables clanking against the boom.	When booming more than one person, gently twist the boompole to mic each person as they speak.	Use a windjammer on the zeppelin to help cut down wind noise when shooting exteriors.

Excerpted from The Shut Up and Shoot Documentary Guide Focal Press.  Available from The Broadcast Bookstore, www.broadcastbookstore.com

Anthony Artis is a 15-year veteran of the Film and TV industry whose features and shows have been screened at the Tribeca Film Festival, the IFP Feature Market, Slamdance, and on MTV.  He has worked professionally in positions as diverse as producer, gaffer, and cinematographer, and has survived more low-budget shoots than he cares to admit.  Anthony is presently the manager of the Film and TV Production Center at New York University’s Tisch School of the Arts, where he coordinates the technical training and production equipment for all film and TV students. His website is www.DownandDirtyDV.com

8 Quick Tips for Better Booming

Find this article helpful?  You might want to look at these other audio-related:

Introduction to Wireless Mics

Layers of Sound

Foley Techniques

Understanding Lavalier Mics

Cable Conundrum

Cleaning Mics

Multi Track Mixing

Mic Selection Chart

Monitors Matter

Balanced Cables

Announcing? You?

 

  May, 2008