Invention and History of the Boom Mic
– The first prototype boom mic was used on the set of ‘The Wild Party’ (1929) by director Dorothy Arzner, who rigged a microphone onto a fishing rod for actress Clara Bow to move freely.
– Director William A. Wellman used a boom mic on the set of ‘Beggars of Life’ (1928) to achieve a tracking shot of actors walking down a street, by attaching the microphone to a broom-handle.
– Wellman also moved a microphone for the first time, defying the sound engineer’s insistence on steadiness, and hung it on a boom during a recording session.
– A patent for a similar sound-recording device was filed a year later by Edmund H Hansen, a sound engineer at the Fox Film Corporation.
Applications of Boom Operators
– In television studios, boom operators use Fisher booms, specialized equipment that allows precise control of the microphone at a greater distance from the actors.
– Wireless microphones are attached to individuals who require their voices to be recorded.
– Boom poles, made from aluminum or carbon fiber tubing, can be extended or collapsed as needed.
– Some boom poles have an internal microphone cable, either protruding or coiled, that connects to a socket at the base for easy connection.
– Wind-attenuating covers, such as blimps or windmuffs, are used to enclose the microphone and reduce wind noise.
Roles and Responsibilities of Boom Operators
– Boom operators in feature films and TV dramas may have a sound assistant working under them to assist with various tasks.
– In lower budget productions or documentaries, the boom operator may also serve as the production sound mixer.
– The boom operator must decide where to place the microphone based on factors such as dialogue location, camera frame position, lighting, and unwanted noise sources.
– Familiarity with the script is crucial, as the boom operator may need to adjust the microphone according to who is speaking.
– Larger budget productions may employ multiple boom operators, each focusing on a different actor.
Challenges and Considerations for Boom Operators
– The appearance of the boom mic or its shadow on screen is considered poor filmmaking.
– Examples of boom mic visibility in films include the mic’s shadow above crewmen in ‘Plan 9 from Outer Space’ and the mic dipping into the frame in ‘Dolemite.’
– Boom operators require a high level of skill, knowledge of various microphones and camera lenses, and a good overall technical understanding of sound equipment.
– Diplomacy and good people skills are necessary as boom operators need to interact with actors and multiple departments.
– Physical fitness, strength, and stamina are important due to the physical demands of operating the boom.
Additional Resources
– Perchman is a related role in the film industry.
– References provide further information on boom operators, including their responsibilities and the history of the profession. Source: https://en.wikipedia.org/wiki/Boom_operator_(media)
A boom operator (or First Assistant Sound) is a core role in the sound department of a film production, who works with the production sound mixer and utility sound technician. The principal responsibility of the boom operator is microphone placement, usually using a boom pole (or "fishpole") with a microphone attached to the end (called a boom mic), their aim being to hold the microphone as close to the actors or action as possible without allowing the microphone or boom pole to enter the camera's frame.
