[…] never allowed to get the microphone into the picture, and that made it awkward for us. Anyway, we managed after a fashion.Alan Lawson : Did you have booms at that time?Peter Birch : Oh yes, I had my own boom made at Welwyn by the general purpose chap there, an engineer, quite a nice boom really. No[…]
[…]e, he's got a great sense of recall.He's on our list.Well he's got a great sense of recall. And he started in Bristol I think and of course, he was a boom swinger and eventually, I mean I remember him most when he was a producer. And that corridor had names like Bill, Bill Earnshaw.Mm.Brian Sears, w[…]
[…]ay, especially with the cameramen, the lighting cameramen, some of them could be very slow, somewhere quite good, Otto Heller was always fast, he was boom boom boom. Some of the other ones seemed to go on forever, you'd be sitting around the set.Roy Fowler: Otto was Austrian. He told me once how he […]
[…] : It was a hell of a sweat for the boom operator. Peter Birch : Yes, yes Alan Lawson : And […]
[…] in Bristol I think and of course, he was a boom swinger and eventually, I mean I remember him most […]
[…] I got to Nettlefold, I started off as assistant on the camera, on the silent movie, then when talkies started I did a course with RCA and I became a boom swinger to start with, you see? And then I realised, the only job in movies to have was the director, he had all the fun!Roy Fowler: Right.V[…]
[…]es Hammond was actually still on the cameras that time. He became a thing. Gosh I'd say I do remember them all. Isn't it hard now. Charlie was on the boom of course when he wasn't throwing cheese rolls at the studio manager. I can't remember this very well. How long did you stay. Well what happened […]
[…] roost. They were the kings of engineering world. But the the not so clever engineers were operators, cameraman, sound. What I specialized on was the boom. I was the best boom, boom swinger in the West. I mean, that's my reputation. And cam, and I got on marvelously well, because if I could get the […]
[…], very slowly, with permission from upstairs, Phil Johnson, head of department, Tim Amyes, who was the Dubbing Mixer, I was able to move and became a Boom Operator on Take the High Road so I was getting my first teeth into actually production sound, learning, again, from really good Sound Recordists[…]
