This is a question about if there is only 1 boom operator on many productions and in what conditions are there more than 1.
This is a very broad question but I would use the rule of context. If the space is meant to be small and intimate then filming in an aircraft hanger is going to ruin that. I have never had much success taking out lots of reverb so its all about communicating to the client and going on a recce so you can try to get them to choose a new location.
I haven’t had much real world experience with them but i think for the price I would air more on the side of investing the the Sennheiser G3 set. For the expense and amount of uses from them I don’t think that much of them.
This is a great question that comes up all the time about cover letter. I cover lots of detail in the video but essentially short, sweet and all about how you can add value to the production.
This wasn’t a direct question but I know something that comes up a fair bit for people in all levels of the industry and so this is my approach if i am not given the time or resources to be able to achieve something that would improve the production, such as off lines or wild tracks.
Someone asked me when the best time to get wild tracks on location sound recording. Wild tracks is quite large meaning for wild lines or sound effects and even ambiences sometimes. So depends on your meaning, so lets break this down:
This was a question from one of the previous Q&As about how essential i think IFB/IEMS are. I took this to mean buy some to use in equipment on many jobs. For that reason I would say it wouldnt be something I would look to buy early on but they do come in handy for bigger jobs or commercials when clients and agency are wanting to listen in while watching video village.
Paul Caton asked me how I prepare for recces (Location scouts) and main thing i am after depends on the whether the location is internal or external.
Plane noise is so common in my line of work, but now there is a new interactive map (sadly just for the USA for now) to be able to see basic flight paths for all the major airports. This is very useful if you want to pass this on to production to give them a better estimate of the issue of plane noise.
I own a SuperCMIT and have done for over a year now and do think it is an excellent tool because you are still able to record an unprocessed channel and a processed channel with its noise reduction algorithm. This means that at the worst case if post production (often me doing it) I can use something like Izotope’s RX5. If I am not editing then I can give them a clearer signal that the client love.