Boom Operator Rob Cunningham on the set of "Cloud Nine", emerging from hours and hours of very cramped trailer fun.
Kevin Muldoon on location in Ecuador for the Miss Universe pageant, notice the production trailers and edit suites in the back ground. Entire show was produced from fly packs, including control room, audio and video tape. Show was aired live on NBC.
Video assist operators Roger Johnson and Sam Harrison recording 9 or more feeds in the permanent installation of the motion capture film “Monster House” at Sony. They were working with 3-5 cameramen shooting "reference footage" on the capture set.
Brion Condon booming at sea off the coast of Oahu, Hawaii on the WB Pilot “Rocky Point” 9/04
Rob Cunningham (right) and Jonathan "Pockets" Norton(left) double sticking on the set of biopic "Crazy" at the now defunct Ambassador Hotel.
Ray Cymoszinski - Fall of '05 while he was mixing "Everybody Hates Chris" on New York Street, Paramount Backlot.
Peggy Names and Hugh Grant - "American Dreamz"
Jay Huntoon Video assist Operator 'Yours Mine and Ours"
Jon Ailetcher, mixing Dark Portal in Placerville, CA with Dave Hadder on Boom. Nov. 2005
David Wyman a Rainy Day "Yours Mine and Ours"
Lieven Van Hulle operating video on the Tier II shoot "Bobby", the Bobby Kennedy story shot Nov. 2005 in LA.
Peggy, David and the cutouts "west wing set for American Dreamz" alas John Spencer R.I.P
Ron Cooper booms Ben Bratt. Photo by Tim Song Jones
Mark Grech using his famous "Plant Mike" on the Showtime series "Weeds". When those direct sun shadows are keeping you out of the shot, you just gotta do something! Mixing on "Weeds" was Glenn Berkovitz and Sound Utility was Mick Davies.
On the set of the Method Man Redman Show, Fox Television. From left to right - Josh Bower, boom operator; David Parker, sound mixer
Mark Grech, Boom Operator, in the "Flamingomobile" on location for the feature film "When a Stranger Calls". Mixing was Glenn Berkovitz and Sound Utility was performed by Anna DeLonzo and John Hays.
Left to right is Dirk Stout boom, Kenn Fuller mixer, and Jaya Jayaraja cable.
The Sound Department for RENO 911!
Left to right: Stu McKee Boom Bill Macpherson Mixer Karl Ritter Utility
The New Sound Team on the Set of "Haunted Mansion" David Wyman -- Mixer Earl Sampson -- Boom Operator Matt Tenggren -- Utility
Sound Mixer Tom Stasinis Season 2 "Arrested Development"
Wolf Seeberg recording an 8 track commercial (with 2 DAT as editing tracks) for Eric Sarinen of Plumb productions. 16 stock brokers on a tradefloor had wired headsets on, another 4 were wireless. The trading floor "buzz" was totally controlled in post (they added more wild track voices.)
24-frame engineer Courtney Goodin created this for a Charles Schwab commercial. In this scene, 75 plus hi-rez computer monitors are fed from 19 sources all running under Windows with some additional premiere 16x9 Video loops feeding the large screen Plasma monitors. There were 4 days of prep to create the interactive animated graphics simulating stock traders’ workstations and 1 day of wiring the set. All was broken down and wrapped in 6 hours.
Lance Velazco mobile video village in the pineapple fields of Hawaii. There is also the Libra head operator on the same vehicle.
Lance Velazco operating video assist decks and computers for 4 to 7 cameras for the feature “Mr. and Mrs. Smith”, Fox studios spring 2004, using Wolf Seeberg Videos medium size system.
The film “Monster House” was being captured by infrared sensors on computers. No camera recorded visible light... no wardrobe, no sets, no locations, no dollies, no lights. One stage with 250 infrared sensors does it all.
Mixer Bill Caplan mixing the motion capture film “Monster House” at Sony. He had 2 boom operators, Peggy Names and Cary Weitz, using Fisher Booms on the floor. Shadows do not matter here because all the 250 infra red cameras "see" are reflections of the special tennisballs worn by the actors. Actors also have reflective "mini balls" on their faces so computers can recreate their expressions. This is the second film (after “Polar Express”) made this way by director Robert Zemekies. It foreshadows an evolving industry production style that may replace many jobs of the traditional film production.