4/30/2023 0 Comments Boom recorder pro 8Auto-Record, Pre-Record, and Self-Timer functions.Playback Speed Control, Voice Emphasize Filter, and Stereo Bounce functions.Limiter button for input signal up to 120 dB SPL.Stereo ⅛" Phone/Line Output jack with dedicated volume control.Stereo X/Y 90˚microphones handle up to 120 dB SPL.Electronics / Programming / Prototyping.3D Printing / Cutting / Replication Toggle Dropdown.Electronics / Programming / Prototyping Toggle Dropdown.Computing / Laptops / Student Printing Toggle Dropdown.Next, we'll look at the importance of respecting the sound mixer. But when in tighter spots, get creative and figure out how to boom the shot. That way, you get the authentic sound from the location as well as the same energy that the actors have in that moment. For these, we really had no other choice than to use LAV audio or to record the sound separately with the camera not filming. Maybe you'll need to hide behind the kitchen counter on the floor and point your boom upwards at the actors, but sometimes recording with the boom just isn't feasible, like in these wide shots from the goodbye scene in The Assurance. Shots where the camera moves can become a little bit more tricky. So you could find a rung that you could use as kind of like a reference for where the frame line is or whatever. Often, boom operators will find some object around them to use as a guide or a mark for where that frame line is, like maybe your next to a ladder on set. Work with the camera operator to find the spot where your boom is just barely out of frame and then make sure it never goes lower than that throughout the shot. So before the cameras roll, make sure that you do something called a frame line check. You also want to get the mic as close to the subject as you can, but this can create some interesting challenges in wide shots. When you hold the boom, you typically want to have the mic a little in front of the subject and angled slightly back at them. And that will pick up a little bit more low end frequencies in the voice. It's also common practice to aim towards the top of the sternum of the person that you're recording. When recording dialogue scenes, that means pointing the mic directly at the mouth of the person speaking. You need to point the mic directly at what you're trying to record. It's not enough to just get a microphone close to an actor or to a sound you're trying to record. Assuming that you're using an extremely directional mic like a shotgun, remember that you only record what you point at. They're usually padded and attached to shock mounts which greatly reduces noise transferred from holding the mic. And, perhaps most importantly, they're also designed to record audio without picking up additional noise from the operator. They are strong enough to support the weight of a microphone, but light enough to be held aloft by a boom operator throughout very long shoot days. Boom poles are designed to be used in film work. After all, it's just a simple pole, right? Well, not exactly. Now, I've seen some DIY indie YouTube videos on how to create your own boom pole, and I could see how that might be a tempting way to save money. This allows you to get those very directional microphones pointed at the audio source, but keep the microphone out of the shot. Essentially, a boom pole is just a pole that you attach a shotgun mic to and hold up to record audio on set. So let's talk about that in a little bit more detail. In the last movie, we talked briefly about using a boom pole to record audio.
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