A boom operator is a member of the sound crew who captures live sound during film or television productions. The title refers to the boom mic, which is a type of microphone used the operator. Because the microphone must be held up for long periods of time, working as a boom operator necessitates some basic training as well as shoulder and arm strength.
A boom operator can double as a microphone technician for an entire set, overseeing not only the boom mic but also the area and body microphones. Because of this level of responsibility, a boom operator should have a strong background in acoustics as well as sound recording knowledge. Boom operators must be able to quickly assess the acoustics of any shooting location and set up a microphone system that captures as much sound as possible, often in collaboration with the sound mixer.
A long pole with a detachable microphone head is most commonly associated with a boom operator’s microphone. There are several types of boom microphones that can be used with the pole, but the shotgun mic is one of the most basic. These microphones are typically held just outside the frame of the camera and are used to capture dialogue spoken actors. The easiest place to hold a boom mic is often just above the camera frame, requiring the boom operator to keep the boom pole over his or her head for the duration of the shot, never allowing the microphone to dip into the frame.
The operator must sometimes twist the pole back and forth to angle the microphone placement in addition to bracing the boom mic over his or her head. When two or more actors are speaking in the same shot, the operator may need to move the microphone around to catch each actor’s words. Being a boom operator necessitates arm and shoulder strength and endurance, as well as proper stance to avoid arm, neck, and back injury.
When sound is being recorded, boom operators must be able to communicate easily with the sound mixer, who is usually nearby. The mixer frequently listens to the sound coming through the boom microphone through headphones and can provide useful information about how the recording is progressing. An operator may also serve as a sound mixer on occasion, and will be able to hear directly through headphones what the microphone is picking up.
Starting out as a boom operator requires little training, and getting your first job is as simple as contacting film schools. Due to the lack of a sound department at most film schools, many student productions rely on outside sound engineers. Although these jobs rarely pay, they frequently provide the necessary equipment as well as valuable onset skills and the opportunity to form professional relationships. Once their skills have improved, many boom operators work as freelancers, relying on their network of contacts to find work or applying for sound jobs on low-budget or independent shoots.