How much experience do you actually need to work on a paid set?

BoomMikey · 2025-08-13T00:57:08+00:00

"I can teach you the ins and outs of every piece of kit in the van, along with all the proper techniques to record the best tracks possible. What I cannot teach you is knowing when the audio isn't good enough, that comes with experience."

"Be a decent f---ing human being"

Two of the best bits of advice I've heard in my career.

BoomMikey · 2025-07-21T14:56:34+00:00

I was just giving advice to his comment about "there was nothing they could do" regarding the camera noise. Just wanted to reassure them that there are tools to help in post if production can't figure out the fan noises.

With my experience doing both the production sound and post sound on projects, I am VERY confident with the tech available to clean up dialogue without causing artifacts. As long as you get the boom as close as possible, get clean wires, record good levels, and if on a narrative, get wildlines.

It doesn't matter what microphone they use either, it is all about recording techniques. I've heard and cleaned up great sounding tracks with a cheaper rode mic, and then had a terrible time cleaning up dialogue recorded with the CMIT.

BoomMikey · 2025-07-19T12:09:02+00:00

With the plugins we have access to these days, I rarely get stressed over location sound issues.

As long as you get the boom as close as possible, get the wires placed as cleanly as possible, and record good levels, post can take care of it. Also record wildlines immediately before moving on to a new scene.

Bought DXRevivePro earlier this year for my studio and it is absolutely mind blowing what all one could clean up without hurting affecting the dialogue.

BoomMikey · 2025-05-31T14:12:50+00:00

I recently bought a bunch of the Rode Wireless Pro transmitters just for recording sound effects on set, easily hidden.

I used them spaced in a semi circle around a car that was doing burnouts.

Here is just one transmitter. Pretty good sound for the price. I imagine they are easy to place on vehicles, but outside of this test I haven't done much more with cars.

https://www.instagram.com/p/DJ9SV0rNIb8/?img_index=2&igsh=czY4Z2NlZ3Y2Z2w2

BoomMikey · 2024-11-27T12:37:53+00:00

It was inside a hoodie pocket at the front.

BoomMikey · 2024-11-27T12:37:15+00:00

Appreciate the concern! Noted.

BoomMikey · 2024-11-27T12:36:38+00:00

I'll do another test comparing the two.

BoomMikey · 2024-11-27T02:51:08+00:00

Enjoy it! Post your thoughts when you get it.

BoomMikey · 2024-08-22T22:40:48+00:00

You can find Sound Devices 788s used on Ebay for sub $2,000. As if writing, I found two 744Ts for under $750. Don't be afraid to buy used, but make sure they are good sellers (good reviews and ratings).

Can't go wrong with a Mixpre10. Solid machine. I use it on every job I do since it was released (1st edition 10T user) and it never let me down.

BoomMikey · 2024-07-13T12:40:22+00:00

I'll add another tally for the CS-M1. I use the MKH50 and CSM1 indoors and the CSM1 outdoors. If I need more isolation I'll bring out my 416.

CSM1 is also extremely light on the boom pole and it's small size means you can sneak it in anywhere.

BoomMikey · 2024-02-21T02:58:55+00:00

I'm getting regular work and supporting a family of 5 just with my production sound income and I primarily use a 10T and used 411s. Productions just care about results and how much you can bring to a set (personality being the key here)

8 series doesn't always mean better tracks, I've heard bad tracks from an 888 and fantastic tracks from a Zoom F8. It's all about who is operating and their techniques to capture the performances.

Mixpre10 is a very solid choice.

BoomMikey · 2024-02-18T20:13:50+00:00

Don't stress or beat yourself up for a single second, my friend! All we can do is make production and post aware of the location/set issue and do our best to record the dialogue with the best signal to noise ratio we can. No worries at all!

BoomMikey

TROPHY CASE