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Sound Mixing & Boom Operation

As a self-taught musician since middle school, I've always had a keen ear for quality sound. As an engineer, I'm able to use my understanding of the science behind audio to better capture quality sound. I've operated a wide range of audio devices and brands, including Tascam, Mix Pre Series, Zoom, Sound Devices, and Edirol. At the end of each shoot, I not only stand behind a promise to record great audio, room/ambient tone, and added sound effect tracks for "room to play," but also to promptly deliver all sound files neatly organized and labeled to the producer - with copies. I mean business when it comes to audio, so if you like what you hear,  I'm ready when you are. 

Above are clips from productions where I am a Sound Mixer and/or a Boom Operator. Depending on the production's and director's needs, I can play very active roles to get what is needed for a take. There are many scenes where I maneuvered around stages with active dancers, avoid super dynamic camera shot frames, and "lav up" talent for extremely long takes. Take a listen at the raw recordings of some clips below. Crisp and clear as in no "well fix it in post" or "should have held for plane" mistakes that chip away at a productions budget.

Sound Equipment List

Microphones
Sennheiser MKH 416 Shotgun - 1
Shure SMB-7 Condensor - 1
Focusrite Condensor - 1



Lavaliers
Sennheiser ME2 - 8

Recorders
Zoom f8n 8 Channel - 1
Tascam DR 10-L - 3

 

TX/RX Combos
Sennheiser G3 - 5
Rode Rodelinks - 2
Rode Wireless GO - 2


Transmitters
Rodelink Shotgun 48v - 1
Sennheiser G3 Shotgun 48v - 1


IFBs
Comtek PR-216
Comtek M-216

Other
K-Tek 102CCR Boom Pole - 1
Rode Windsheild - 1


Accessories
RX Camera Mounts - 3
Rycote Shock Mount - 1


Timecode
Lemo 4 pin cable - 1

 

Going back to re-shoot a scene, record ADR in a studio, and attempting to edit in post can be the difference between within or exceeding budget. I avoid this as much as possible by recording the best I can on set and communicating with the DP and Director on what would work best for capturing a great take. Below are some RAW sound files from my own equipment on different indoor and outdoor sets.

The Middle Man Final Lines 3.mp3
00:00 / 00:53
Quake Samples
00:00 / 01:09
Dream Reach Media Erin S2
00:00 / 00:32
Dream Reach Media Sean S2
00:00 / 00:27
Blood Brotherhood Studio
00:00 / 08:22
Dream Reach Media Erin S1
00:00 / 00:36
Dream Reach Media Sean S1
00:00 / 00:34
Traffic Ambient Noise Take 3.mp3
00:00 / 01:13

I have a wide range of experience with sound gear, and I have my own for those last minute call shoots.

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