bjbj j{pQ This really isn t a dead cat on a pole. It s actually a microphone. We ll
show you how to use it more on this episode of tips and tracks. So this is a boom microphone.
The primary component of this is the actual boom pole itself which is attached to the
rest of the microphone. We ll take off the wind screen here so we can see our different
components. The technical term for this is a windscreen, although it s sometimes referred
to jokingly as a dead cat, dead muskrat, what have you. This one has kind of a furry covering
on it but there s others that are just foam. The actual structure here is called a zeppelin.
What you do with this is attach a microphone right in the middle. We re using a shotgun
here. This is the most typical type of microphone that gets used in a boom mic. They are shotgun
because they re directional. They don t pick up any sound from longer distances. They re
simply very directional microphones and a good choice for using on a boom pole because
you re trying to get the sound from a specific person or location. The idea is you d hold
it over your head like so and be able to aim the microphone over your subject.
This one uses just a regular XLR connection and then there s an XLR cable here at the
bottom. We ve strung this through already ourselves. You could use a wireless mic too
if you want it. Inside the actual zeppelin is a shock mount which is where we have attached
this particular microphone. So as far as connecting this microphone to your camcorder or other
audio recorder it s basically just using an XLR connection or an adapter. You can also
use a field audio mixer but don t forget to use headphones, particularly with an extension
cable so you can make sure that whatever you re aiming the microphone at is what you actually
intended to record.
The main way to support a boom pole is over your shoulders. This will give your arm muscles
a break although after a while, even though the pole itself is light and the microphone
doesn t weigh very much, it ll feel heavy in a few minutes. The best way to use a boom
pole is to get as close as you possibly can to your subject without actually getting part
of the boom into the scene. The best way to accomplish this is overhead but then sometimes
depending upon how the shot is composed you might have better luck going from underneath
but then you probably want to crouch down a little bit so that your body weight is supported
better. Another important point is that like any object that s subjected to light a boom
will cast shadows, so it s really important to keep in touch with your camera operator
to make sure that no shadows are being cast that will show up on your video. So proper
use of a boom pole will give you some of the best sound that you can acquire. It does require
some upper body strength but the results are well worth it. [End of Audio] Using a Boom
Mic Page PAGE of NUMPAGES www.verbalink.com Page PAGE of NUMPAGES hgp% gdAF2 gdAF2 gd-r
gd-r gd-r :p6dn [Content_Types].xml _rels/.rels theme/theme/themeManager.xml sQ}# theme/theme/theme1.xml
w toc'v )I`n 3Vq%'#q :\TZaG L+M2 e\O* $*c? Qg20pp \}DU4 hsF+ ,)''K K4'+ vt]K O@%\w S;
Z |s*Y 0X4D) ?*|f -45x /Y|t theme/theme/_rels/themeManager.xml.rels 6?$Q K(M&$R(.1 [Content_Types].xmlPK _rels/.relsPK
theme/theme/themeManager.xmlPK theme/theme/theme1.xmlPK theme/theme/_rels/themeManager.xml.relsPK
<?xml version="1.0" encoding="UTF-8" standalone="yes"?> <a:clrMap xmlns:a="http://schemas.openxmlformats.org/drawingml/2006/main"
bg1="lt1" tx1="dk1" bg2="lt2" tx2="dk2" accent1="accent1" accent2="accent2" accent3="accent3" accent4="accent4"
accent5="accent5" accent6="accent6" hlink="hlink" folHlink="folHlink"/> b=NS Gg`R Gg`R "^('E2
BoP.E2 6&+} Using a Boom Mic Verbal Ink Normal Your User Name Microsoft Office Word ^mpQ
VT$m_( " WMFC EMF kn1H kn1H " WMFC " WMFC WMFC "Arial Using a Boom Mic www.verbalink.com
Page i Times New Roman This really isn t a dead cat on a pole. It s actually a microphone.
We ll show you how to use it more on this episode of tips and tracks. So this is a boom
microphone. The primary component of this is the actual boom pole r itself which is
attached to th e rest of the microphone. We ll take off the wind screen here so we can
see our different components. The technical term for this is a windscreen, although it
s sometimes referred to jokingly as a dead cat, dead muskrat, what have you. This one
has kind of a furry covering on it but there s others that are just foam. The actual structure
here is called a zeppelin. What you do with this is attach a microphone right in the middle.
We re using a shotgun here. a This is the most typical type of microphone that gets
used in a boom mic. They are shotgun because they re directional. They don t pick up any
sound from longer distances. They re simply very directional microphones and a good choice
for using on a boom pole because you re trying to get the sound from a specific person or
location. The e idea is you d hold it over your head like so and be able to aim the microphone
over your subject. This one uses just a regular XLR connection and then there s an XLR cable
here at the bottom. We ve strung this th rough already ourselves. You could use a wireless
mic too i if you want it. Inside the actual zeppelin is a shock mount which is where we
have attached this particular microphone. So as far as connecting this microphone to
your camcorder or other audio re corder it s basically just using an XLR connection or
an t adapter. You can also use a field audio mixer but don t forget to use headphones,
particularly with an extension cable so you can make sure that whatever you re aiming
the microphone at is what you actually intended to record. The main way to support a boom
pole is over your shoulders. This will give your arm muscles a break although after a
while, even though the pole itself is light and the microphone doesn t weigh very much,
it ll feel heavy in a few minutes. The best way to use a boom pole is to get as close
as you possibly can to your subje ct without actually getting part of the boom into the
scene. The best way to accomplish this is overhead but then sometimes depending upon
how the shot is composed you might have better luck going from underneath but then you probably
want to crouch down a little bit so that your body weight is supported better. Another important
point is that like any object that s subjected to light a boom will cast shadoi ws, so it
s really important to keep in touch with your camera operator to make sure r that no shadows
are being cast that will show up on your video. So proper use of a boom pole will give you
some of the best sound that you can acquire. t It does require sl ome upper body strength
bu t the results are well worth it. "System Verbal Ink Using a Boom Mic This really isn
t a dead cat on a pole. It s actually a microphone. We ll show So this is a boom microphone. The
primary component of this is the actual boom The technical term for this is a windscreen,
although it s sometimes referred to They are shotgun because they re directional. They
don t pick up any sound from This one uses just a regular XLR connection and then there
s an XLR cable here a You can also use a field audio mixer but don t forget to use headphones,
particu The main way to support a boom pole is over your shoulders. This will give your
The best way to accomplish this is overhead but then sometimes depending upon ho Another
important point is that like any object that s subjected to light a boom So proper use
of a boom pole will give you some of the best sound that you can a [End of Audio] Title
Headings j{pQ \{pQ j{pQ \{pQ j{pQ <b:Sources SelectedStyle="\APA.XSL" StyleName="APA" xmlns:b="http://schemas.openxmlformats.org/officeDocument/2006/bibliography"
xmlns="http://schemas.openxmlformats.org/officeDocument/2006/bibliography"> <?xml version="1.0" encoding="UTF-8" standalone="no"?>
<ds:schemaRef
ds:uri="http://schemas.openxmlformats.org/officeDocument/2006/bibliography"/> Microsoft Word 97-2003 Document MSWordDoc