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Posted by doc on 09/05/05 04:04
or one can simply advise the boom mic'r that he's getting close to 'frame'
and he can adjust. when i do AD i pre-arrange the shot and advise the boom
mic'r how low to go when in the outter frame and then do the shot. this way
the mic is always visible in the upper "outta frame" and always close enough
for excellent sound. otherwise, the background music will over dub the
monolog/dialog and thus the music will be tooooooo loud!
doc
"Noah Timan" <nothere200@yahoo.com> wrote in message
news:1123855897.483011.121300@g49g2000cwa.googlegroups.com...
> Ty Ford wrote:
>
>> So does the camera op not see it? Does it show on a video monitor for the
>> director?
>
> The camera operator will see everything in 1:85, everything in 1:33,
> and some additional real estate outside both frames, as do we sound
> mixers on our monitors -- this is what usually prompts that frantic
> finger pointing upward by the camera operator, followed by that
> catatonic look on some ops' faces after the director has called cut
> (for another reason). At this point they say to the boom op, still
> stressed, "You didn't get in, but you were really close..." and the
> boom operator smiles and shrugs and says, "Well, isn't that my job, to
> get really close and not get in"? <g>
>
> In order not to distract the director, camera departments used to put
> black paper tape around the 1:85 frameline on the monitor, although
> more modern video taps allow the option to electronically put a gray or
> black matte around the 1:85 frame, thereby sending the need for the
> sticky tape into obsolescence. (Sometimes I still ask for the sticky
> tape around the director's monitor, as the camera sometimes can only
> send one feed, and this way I can see the full frame and safety and
> give the boom op framelines or warnings directly without having to
> bother the camera department. On a bigger budget job there is usually
> a video engineer who can customize the matting for the individual
> feeds).
>
> Regards,
>
> Noah Timan
>
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