A Boom operator is an assistant of the production sound mixer. The principal responsibility of the boom operator is microphone placement, usually using a boom pole (or "fishpole") with a microphone attached to the end, their aim being to hold the microphone as close to the actors or action as possible without allowing the microphone or boom to enter the camera's frame. Often in television studios, the boom operator will use a "fisher boom" which is a more intricate and specialized piece of equipment that the operator stands on, and that allows precise control of the microphone at a greater distance from the actors. He or she will also attach wireless microphones to persons whose voice requires recording.
Boom poles are usually manufactured from several lengths of aluminium or carbon fibre tubing, allowing the boom to be extended and collapsed as the situation requires. Some poles have a microphone cable routed through the inside of the pole, which may be a regular cable protruding at the bottom end, or a coiled cable that can extend with the pole, connecting to a socket at the base that the operator plugs their microphone cable into. The ideal boom pole is lightweight and strong, supporting the weight of the microphone on the end while adding as little weight as possible.
The boom operator and production sound mixer may often be combined into one job performed by one person, usually when the crew number is to be kept minimal, such as for documentaries or news collecting, or in low budget productions. The one-man unit is often known simply as a "sound recordist" or "sound man", and would perform all on set sound duties.
The boom operator must decide where to place the microphone based on a combination of factors, including the location and projection of any dialogue, the frame position of the camera, the source of lighting (and hence shadows) and any unwanted noise sources. Often the boom operator will need to be as familiar with the script as the actors themselves, as they may be required to tilt or move the microphone according to who is speaking.
In productions with a bigger budget, more than one boom operator may be used, with each operator focusing on a different actor.
Boom poles are usually manufactured from several lengths of aluminium or carbon fibre tubing, allowing the boom to be extended and collapsed as the situation requires. Some poles have a microphone cable routed through the inside of the pole, which may be a regular cable protruding at the bottom end, or a coiled cable that can extend with the pole, connecting to a socket at the base that the operator plugs their microphone cable into. The ideal boom pole is lightweight and strong, supporting the weight of the microphone on the end while adding as little weight as possible.
The boom operator and production sound mixer may often be combined into one job performed by one person, usually when the crew number is to be kept minimal, such as for documentaries or news collecting, or in low budget productions. The one-man unit is often known simply as a "sound recordist" or "sound man", and would perform all on set sound duties.
The boom operator must decide where to place the microphone based on a combination of factors, including the location and projection of any dialogue, the frame position of the camera, the source of lighting (and hence shadows) and any unwanted noise sources. Often the boom operator will need to be as familiar with the script as the actors themselves, as they may be required to tilt or move the microphone according to who is speaking.
In productions with a bigger budget, more than one boom operator may be used, with each operator focusing on a different actor.
