If the production recordist doesn't have a video monitor capable of
indicating the shot composition (what is exactly in the camera's frame), the only person that can help the boom operator for this precious information
is the camera operator.
Who do you think gets his butt kicked when the mike enters the frame ?
Even if it's the camera operator that didn't respect his marks ???
Did you guess ???
I'm sure you did.
Before the video monitoring systems got to be used almost systematically, some camera
operators even cowardly took advantage of the situation, shouting "boom"
to interrupt a take of which they had screwed-up the movement. Nobody was there to
check if the mike was indeed in the frame, since the screwed-up takes aren't used
(not even transfered to positive from the original negative).
Now that the director and the production recordist each have their own video monitor,
such cheating is no longer possible. |
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optical viewfinder :

Aaton model with a super 35mm frame, 1.78 aspect ratio (exterior)
and TV aspect ratio frame (interior)
the viewfinder of a camera includes a thin frame (at least one,
there are dozens of different models) that indicates what will really be
printed on the film. The camera operator can therefore "see the boom coming"
in the frame during the technical rehearsals. Here, a second frame, inside the first
one, indicates what will really be seen on a TV screen.
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