OT: Gizmo for boom operators

farss wrote on 1/27/2006, 1:36 PM
Scenario: Boom operator a long way from the camera and the boom operator really needs to hear how well he's doing with mic placement. You could somehow with a long cable give him a feed back from the camera but two problems, one it's an extra cable to cause grief and secondly most cameras don't have enough output on the headphone socket for most headphones to provide useful monitoring and third, the guy riding gain on the camera needs a split as well.
Cheap and simple fix: Rolls PM50sOB!
This little box will fit on the boom operators belt and bridge the mic line. Its amplifier will give the operator enough level to blow an eardrum or two if set to 11 and nothing he does is going to affect the signal going to the camera. Very sensibly built, has both 1/4" and 1/8" headphone jacks PLUS you can feed a line signal into it as well so the user can create their own mix for monitoring, runs for ages off a 9V battery. Cost, around USD50.
Can be used for many other purposes as well, for my money a cheap bit of kit thats worth having in the toolbox.
Bob.

Comments

GlennChan wrote on 1/28/2006, 12:11 AM
Another Gizmo for boom ops:

A field mixer that goes onto the boom pole:

http://www.sonosax.com/BD1/SX-BD_InfosheetE.html
Grazie wrote on 1/28/2006, 12:29 AM
Bob, seen one for sale in UK £60? Thanks

Glenn, that is just too neat! You realise that I'll now need to get a boom operator to use it! Honestly, htough, I just love the simplicity of design in that Sonosax. How clever? How very, very clever. When design is RIGHT it is right!

Grazie
farss wrote on 1/28/2006, 3:32 AM
It's a great piece of design alright!
In our case we already have the Wendt field mixer thingy but my thinking is that a boom operator should just be focussed on getting the mic in the exact right spot, if he takes his eyes of what he's doing to adjust levels then he's likely to loose the mic position.
I could be wrong here, I've never been a boom operator but it sure seems like an demanding task, holding anything long up high for a long period is very tiring, even with a little blue pill :)
Bob.
Grazie wrote on 1/28/2006, 4:06 AM
That's a great point! I wonder if they questioned anybody in the biz? What they thought would help? And if this has been used as an option in the field to make life easier? - Hey, "Form over Function" .. we must always be sensitive to that - oh yes!

But I guess the Sonosax can be adjusted and then positioned further UP the pole so it is in both the eye-line of the operator while the operator can ALSO keep the talent on the "HOOK"! Does a boom operator completely fix on the talent or is his attention sometimes get caught by the sound engineer?

Only a thought.

Grazie

craftech wrote on 1/28/2006, 6:42 AM
Bob,
Rolls is amazing. They have quality stuff at the cheapest prices. I don't know how they do it.

John
rs170a wrote on 1/28/2006, 7:55 AM
Bob, that Rolls box is a very nice piece of gear and, as you said, the price is definitely right.
I bought the Whirlwind MD-1 a number of years ago and remain happy with it. It's a lot more money ($300 at B&H) but it's also got a mic to line amp built in to it. along with a few extra features

On the Sonosax Glenn mentioned, did anyone bother to look at the price list? It ranges from $1400 to $4,000 U.S., depending on options. Definitely not an amateur product :-)
It's the kind of tool professional sound mixers use.

If you're interested in what the "big boys" play with, check out the rec.arts.movies.production.sound newsgroup.

Grazie, from what I've read on the r.a.m.p.s. group, typically the boom op's job is to make sure the mic is in the right spot at the right time and, along with keeping it out of the shot, that's it. I really can't see them having their attention taken away by having to monitor audio levels. Having said that though, there are times when they get hired to do things "on the cheap", i.e. doing double duty as the bom oop and sound man. In this case, the Sonosax would probably be a good investment. I did a quick search on the r.a.m.p.s. group and the Sonosax is mentioned a few times.

Mike
Cheno wrote on 1/29/2006, 12:43 PM
Personally, I'd never be caught dead with the boom operator not having a feed from the camera. I've worked with some great operators who can mix on the fly at the same time. Much more prefered than to have camera mixing audio which you'll almost never see unless the budget is $0.00.

Even when teaching film (using video cams), I'll have my student boom operators wear the headsets. Let camera worry about visuals. Even with the DVX100's, we can get a good 30' from the camera on a mini cable with levels plenty good enough for a clean monitor. Ideally, you want something you can take line in and mix back to the camera which you can find for $50 on up, so this little box is a great idea. Rent a small mixer if you can though, having to adjust levels at the camera is plain silly and gets in the way of the camera operator.

cheno
Spot|DSE wrote on 1/29/2006, 12:46 PM
Mike,
You do know that David's "factory" is less than 6 blocks from your house, yes? He sells "B" stock there should you want some scratched or less than perfect stock for the school
rs170a wrote on 1/29/2006, 3:43 PM
Douglas, I'm in Windsor so I assume you mean that he's in the Detroit area.
However, who is "David"?

Mike
Spot|DSE wrote on 1/29/2006, 3:51 PM
Sorry, I meant that for Cheno.
Rolls is manufactured in SLC, Utah, just a few blocks from where Cheno's studio is located.