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A boom operator (or First Assistant Sound) is a core role in the sound department of a film production, who works with the production sound mixer and utility sound technician. The principal responsibility of the boom operator is microphone placement, usually using a boom pole (or "fishpole") with a microphone attached to the end (called a boom mic), their aim being to hold the microphone as close to the actors or action as possible without allowing the microphone or boom pole to enter the camera's frame.[1]

The first noted instance of a prototype boom mic was on The Wild Party (1929). To allow Clara Bow to move freely on the set, director Dorothy Arzner had technicians rig a microphone onto a fishing rod.[2][3]

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Often in television studios, the boom operator will use a Fisher boom, which is a more intricate and specialized piece of equipment on which the operator stands, allowing precise control of the microphone at a greater distance from the actors. They will also attach wireless microphones to persons whose voice requires recording. Boom poles are usually manufactured from several lengths of aluminum or carbon fibre tubing, allowing the boom to be extended and collapsed as the situation requires.

Some poles have a microphone cable routed through the inside of the pole, which may be a regular cable protruding at the bottom end, or a coiled cable that can extend with the pole, connecting to a socket at the base into which the operator plugs the microphone cable. The ideal boom pole is lightweight and strong, supporting the weight of the microphone on the end while adding as little weight as possible.[7]

Frequently, a wind-attenuating cover, called a "blimp" or "mic-blimp", is used to enclose the microphone. A blimp covered with sound-absorbing fuzzy fabric is usually nicknamed a windmuff or a "dead cat". In film crew jargon, the gruesome-sounding phrase dead cat on a stick is simply a boom microphone fitted with a fuzzy wind-screen.

On feature films and TV drama boom operators will have another sound assistant working under them who will assistant in various ways; including with boom operating out of vision dialogue, applying radio microphones and rigging other pieces of equipment.

The boom operator and production sound mixer can sometimes be combined into a job performed by one person on lower budget productions, usually when the crew number is to be kept minimal, or for documentaries or news collecting. The one-man unit is often known simply as a "sound recordist" or "sound man", and would perform all on set sound duties.[8]

The boom operator must decide where to place the microphone based on a combination of factors, including the location and projection of any dialogue, the frame position of the camera, the source of lighting (and hence shadows) and any unwanted noise sources. Often the boom operator will need to be as familiar with the script as are the actors, as they may be required to tilt or move the microphone according to who is speaking.

Having the boom mic or its shadow appear on the screen in a completed picture is considered a sign of poor film-making. Notable examples include the mic's shadow appearing above two crewmen flying a plane in Plan 9 from Outer Space and the mic itself dipping into the frame numerous times in Rudy Ray Moore's film Dolemite. Pastiches of bad film-making may also use boom mic visibility to spoof their material.

Boom operators therefore need to have a high level of skill to perform their jobs to a high standard. Knowledge of various types of microphones and their applications is essential. A knowledge of camera lenses is also necessary as well a good overall technical understanding of all the varied equipment modern sound departments use. Because boom operators are required to liaise with actors and multiple departments they need to be diplomatic and have good people skills. They also need a good level of physical fitness, strength and stamina.[9]

Occasionally on location I'll put an SB-800 on a monopod so an assistant can torch a subject from the side or above. Was curious if anyone has come across any booms specifically made for hand held torching. Something with decent reach, fairly collapsable, and counter weighted would be ideal. Anything you've used that you like for this purpose?

Why not use a regular light stand? Just fold the legs up and extend as needed. There are many to choose from and they are self supporting when the assistant needs to do something else. For a counter weight try looking at the flexible and soft (sand?) filled wrap around exercise weights people secure to their feet with Velcro .

I have a number of stands but they are not ideal for gripping by hand. The hand-held aspect is useful when doing run-and-gun scenarios, either when we're quickly changing angles and setups, or when shooting in places that having too much equipment is problematic. For the most part I'm into big setup but there are times when setting up a C-Stand with a couple sand bags so they don't tip over when you extend a boom arm 10' high and 6' out slows the process down. Don't get me wrong, most of the time I'm for taking a couple hours to set up and get it perfect, but on some occasions I do come across situations where flexibility is more important than perfection and need more of a run-and-gun style. I know a number of wedding/event photographers will have an assistant torch while shooting in a scene when it's impractical to set up lights, so I figured this would be a good place to see what they prefer to use.

It weighs only 2.3 pounds but extends to 9.5 feet and with the legs folded in is very slim. I find most of the time the stand is used vertically with the legs folded in as a monopod resting on the ground and if hand held as a boom the legs section gives a wider more comfortable grip that resist twisting.

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Prior to his time at Shattuck-St. Mary's, Baker served as an assistant coach of the women's hockey team at Union College in Schenectady, N.Y. He joined the program in 2016, and was on staff for roughly five years before leaving Union College for his most recent position at Shattuck-St. Mary's.

After graduating from Bethel University in 2006, Baker remained at his alma mater for another nine years, serving as an assistant coach for the Royals' men's team from 2010-2011 and then worked with the women's team as an assistant coach from 2007-2015.

In the FY 2002 Senate Appropriations Subcommittee for Labor-HHS Education and the Conference Committee Report for the FY 2002 Labor-HHS Appropriation, Congress requested that the Secretaries of Health and Human Services and Labor identify the causes of the "shortage" of frontline workers (registered and licensed practical nurses, certified nurse aides and other direct care workers) in long-term care settings such as nursing homes, assisted living and home health care. The Subcommittee and Committee requested that the Department of Labor (DOL) and Department of Health and Human Services (HHS) make comprehensive recommendations to the respective Committees to address the increasing demand of an aging baby boomer generation.

One of the challenges facing the U.S. in the 21st Century will be to ensure that individuals throughout their life will have the supports they need and will be treated with dignity. For the growing population of the elderly and people with disabilities, ensuring the adequacy and availability of direct care workers is key to meeting this ideal. As this report shows, the aging "baby boomer generation" will be the most significant factor increasing the demand for long-term care services over the next half century. The number of individuals using either nursing facilities, alternative residential care, or home care services is expected to increase from 15 million in 2000 to 27 million in 2050. Most of this increase will be driven by the growth in the number of elderly in need of such care, which is expected to double from approximately 8 million in 2000 to 19 million in 2050.1

According to estimates developed by HHS's Office of the Assistant Secretary for Planning and Evaluation (ASPE), after 2010, the demand for direct care workers in long-term care settings becomes even greater as the baby boomers reach age 85, beginning in 2030. ASPE estimates project the demand for direct care workers to grow to approximately 5.7-6.6 million workers4 in 2050, an increase in the current demand for workers of between 3.8 million and 4.6 million (200 percent and 242 percent respectively). This increase in demand will be occurring at a time when the supply of workers who have traditionally filled these jobs is expected to increase only slightly.