As an editor of dramatic content, I appreciated it when the Boom-op/mixer gets good audio on both actors even for a close-up set up - some actors perform great off screen, and in the edit you only play half the lines on someone's face.
As a boom op i noticed that too, usually i pay attention to how both speak in the first take of a close up, and if the off screen actor performs good i still switch from a line to another to get the best result
Half is way too much when the voice is already expressing a lot and you can also show the reaction at the same time. The problem is many actors provide very little in term of reaction because they do not know enough about editing and some were trained in theater, where getting attention when the focus is on someone else is considered bad banners.
Thanks for another great film for an unsung role! Such an inspiration to see your videos, and as a self-taught filmmaker/writer, I find it incredibly helpful in helping to translate my actions/intentions with my crew in a fluid and professional way. PLEASE TELL ME THE MOVIE YOU'RE USING CLIPS OF.
Nice video. As a professional production sound mixer and boom operator it's never advised to use your head to rest the boom pole. Using the head not only compresses the neck and spine which will lead to health complications but it also removes flexibility if the action within the frame suddenly changes. Modern booming technique no longer advocates for the stereotypical "arms straight over-head" approach due to additional shoulder strain. Most shots can be boomed with the pole at shoulder height closer to the body which is more ergonomic. Proper technique will literally lengthen the time our bodies can physically do the job for a longer and safer career. Cheers!
A little fact about the exterior shot from Nightmare Alley - the building that is shown while driving up the driveway (from camera left to right) is actually a sewage treatment plant...
Hahaha I was boon op on a friends movie one weekend and my god my arms were tired. I actually had an idea for a steady cam like vest thing that you could attach a boom pole too, idk how practical it would be but it would probably help not destroy your arms in the long run lmao
I’ve seen that before. I believe they call it a Zombie Rig. Its a vest that suspends the boom pole over you and incorporates a lever that adjusts the angle and a repurposed follow focus that controls the rotation of the mic. I know a few professional boom ops and I’m not sure if it’s practical since I know they sometimes need to adjust the length of the pole while operating and the Zombie Rig would make that more difficult.
It’s nearly impossible nowadays for a boom operator to determine the frame according to the lens size ... because of the multiplication of sensor sizes
In what cases is "Dialog Replacement" used? I imagine outdoor shot dialog is commonly replaced and perhaps unclear dialog but it seems very common these days.
Very often you’ll have a film that, once you get to the editing phase, has certain information that isn’t clear to the audience. ADR let’s you be very creative in how you sneak in bits of info. If you have a shot that doesn’t show the actors face you could alter the dialogue in post that helps the audience understand the story.
I’d guess that they always mix it. Naturally on some productions the mix might be more minimal but on other pictures you can really hear that there is some serious post production. As for every aspect of cinema (and every medium of expression), you can use different tools to achieve your vision, sound can be obviously part of it.The EQ depends on a broad number of factor so I would assume that based on what’s going on in the scene the mixer will make a specific decision. The compressor probably is used in more “intimate” settings if the original recording is not satisfactory.
Why do they have boom Mics on sets when in post production they use ADR (Audio Dialogue Replacement), I genuinely like to know this because I watch a lot of behind the scenes of movies and don't understand why the Filmmakers replace the onset dialogue from the original onset recordings, is it because they want the actors to replicate the same performance in post production.
I'd like to know this too. On The Lord of the Rings films they did a lot of ADR. I do know that Christopher Nolan uses Production Sound if he can, and of course the famous example is from the Bank Heist from Heat which used original production sound
@@reptongeek Yes definitely, I heard too the gunfire from Heat was from the actual on set sound recordings which really heightens the sequences because it gives so much realism to them.
I think it’s usually because the scale of a film set is so large that it’s necessary to work around small/subtle mistakes that get captured in the sound recording. Maybe a gust of wind gets picked up, maybe a nearby tree gets rattled and ADR is a good way to clean up small mistakes. That and I think it makes giant sets with a lot going on in the environment (like LOTR) to be more manageable.
@@tatehildyard5332 Oh really, thank you, much appreciated, so ADR's mainly used to fix up any audio errors on set, is that correct or am I way off or is it to give dialogue scenes more of a punch to them to give them gravitas in post production.
ADR is used when the dialogue becomes too noisy or problematic to fix in post. Sound editors will almost always use the production sound captured on set but sometimes things need to be re-recorded in post b/c of noise issues or they wanted to add/fix dialogue lines etc.
