The basic production sound crew consists of the Mixer, the Boom Operator, and the Utility Sound Technician. The Mixer is the head of the Production Sound Department (usually just called the Sound Dept.) on a show. The Mixer is responsible for recording the dialogue and effects necessary for the editors to cut the show. Crew and equipment contributing to that end fall under the supervision and control of said mixer.
Production Mixer
Politically, it is the Mixer who interfaces with the Director and Producer in pre-production and on the set.
The Mixer is ultimately responsible for finding out what is going to happen in the current shot; for making suggestions to the Director (when appropriate); for working out a miking strategy/approach (often in conjunction with the Boom Operator); for mixing and recording the audio signal; and for approving the recorded take to the director as okay for sound.
In conjunction with the Script Supervisor, the Mixer will make sure that all wild lines and wild sound effects get recorded.
In union parlance, the Mixer is known as a Y-1 or an A-1. The Y-1 designation is from the IATSE Local 695, which is the Hollywood sound union most prevalent in feature filmmaking and episodic television series. On the broadcasting side, the term A-1 is more common, and is used by NABET.
Salary range for a Mixer depends on the budget and nature of the production. On non-union industrial or corporate shows, Mixers earn approximately $250 to $500 per day in Los Angeles. (Note that salary structure will vary for different regions of the U.S.)
Union shows, of course, tend to pay better. Union scale is approximately $565 per 9-hour day, but on the more typical 12-hour long workday -- overtime brings it closer to $850. The going rate for commercials is also $650 to $800 per 10-hour day.
Boom Operator
The Boom Operator (Boomman, Boomperson, etc.) is one of the most underestimated functions on the entire crew. Layman wrongfully assume that the Boomperson is merely someone tall enough and strong enough to hold up a big stick with a mic attached to the end. Hence, novice producers often assume that a grip or someone else not too busy can be assigned to work with the Mixer.
On the contrary, Hollywood has learned to appreciate and respect the skills brought to the set by an experienced Boom Operator. Most Mixers consider the Boom Operator as their equal partner on the set. With increasing frequency, the closing credits of some feature films group the names of the Mixer and Boom Operator together under the single heading of Production Sound..
A Boom Operator needs to be in excellent physical shape in terms of upper body strength. It is no easy feat to hold a fifteen foot long fishpole over your head at full extension, particularly with microphone, shockmount, and windscreen attached to the end. Especially over the course of a grueling 12-hour day. And day after day.
However, holding up the fishpole is only the beginning. A Boom Operator needs to know what to do with that mic on the end of it. A knowledge of microphone sensitivity and pick-up patterns is crucial.
The microphone must be cued (aimed) and/or repositioned overhead from actor to actor as they speak in turn. Cues cannot be late, or else the first words will be lost and the take ruined.
In order to accomplish this, the Boom Operator must be able to quickly digest parts of the script, but mainly to memorize the action of the scene from rehearsal (or first take) and to pay attention to subtle body language that forecast when talent is about to speak (eye movement, intake of breath).
Some actors shout while others hardly whisper. Recording dialogue requires balancing the two diverse levels to within an acceptable range. A lot of this is done by the Boom Operator, by taking advantage of microphone pick-up and rejection angles. By favoring the soft voice, and playing the overbearing one slightly off-axis -- it is possible to achieve a pleasant balance of the two vocal performances, without having to resort to extreme raising/lowering of the volume level back at the mixing panel or recorder end. (Note that ping ponging the volume level up and down during the take might balance the voices, but would create editorial havoc with the background sounds.)
Maintaining frame lines and keeping the mic out of the shot is required, but so is keeping the mic in as close as possible. What with zoom lenses and dolly shots, this can get quite tricky. I have worked with several boommen who have become adept at judging whether the camera is zoomed in or out by observing the angle of camera tilt on the tripod head.
Fishpoles and microphones cause shadows. A working knowledge of lighting is necessary, if one is going to create the least amount of visual interference. The skilled Boom Operator will eyeball the lighting in relation to talent moves in order to determine from where and at what angle to boom the shot. SomeÂtimes, it may become necessary to tactfully make constructive suggestions to the gaffer regarding alternate light placement, or the use of flags & cutters to mask boom shadows.
The Boom Operator must be attentive at all times to what his or her mic is picking up in relation to all of the other mics on the set. It is for this reason that the Boom Operator wears headphones and monitors the complete program mix, not just the boom microphone. In the event of microphone phasing problems (two mics on the set picking up the same sound at the same time, creating cancellation), the Boom Operator and the Mixer must both react immediately in order to save the take. The Mixer fades down one of the offending mics at the same instant that the Boom Operator strategically repositions the overhead mic.
Other problems on the set may also require instant reaction from the Boom Operator, such as loud or soft delivery of lines, ad-libs, sound effects, and actors missing their marks.
Boom Operators may also need to skilled on the operation of the Fisher Microphone Boom. They also need to know how to rig lavaliers and radio mics.
In fact, the Boom Operator should be qualified enough to take over for the Sound Mixer in the event of absence or nature's call.
The Boom Operator needs to have one final attribute. He or she must be telepathically on the same wavelength as the Mixer. Somehow, with no or minimal hand signs or verbal communication, the Boom Operator and Mixer must be able to react to situations like a set of Siamese twins.
It is because of this extreme need for partnership on the set that the Mixer should always demand the right to choose the Boom Operator. For a Producer to saddle a Mixer with an inept or incompatible Boom Operator is to court disaster. For a Mixer to compliantly accept such a Boom Operator is to jeopardize his or her own career, since ultimately the Mixer is responsible for what they hear in the dailies. It is better to turn down an assignment, than to have it turn out badly.
The Boom Operator is designated in union parlance as a Y-8 according to IATSE Local 695. In broadcast, the designation may be an A-2.
Salary range.for a Boom Operator is from $250 to $350 on non-union industrial or corporate. Union shows and commercials will pay $400 on up for the basic 9-hour day, plus overtime. Commercial rate of $450 is not at all uncommon.
The IATSE requires a minimum of a two-person sound crew (Mixer and Boom) for any day that dialogue is to be recorded, though a three-person crew is pretty common. Personally, I find that there are very few situations where less than a two-person crew is physically adequate, other than sound effects gathering or quick 'n dirty reality shows.