Boom Film Download 3gp Mp4
Katriina Beucler
Boom is a 2003 Indian black-comedy thriller film directed by Kaizad Gustad and produced by Ayesha Dutt. The film stars Amitabh Bachchan, Jackie Shroff, Gulshan Grover, Padma Lakshmi, Madhu Sapre, Zeenat Aman and Katrina Kaif. Boom was Katrina Kaif's debut film. She was a last-minute replacement of model Meghna Reddy.[1] The movie released on 19 September 2003, exploring the involvement of fashion world with underworld organised crime.
The film performed very poorly at the box office.[2] Its lifetime collections amounted to about Rs. 12 million.[3] The producer of the film, Ayesha Shroff, had to sell some assets of herself and her husband (Jackie Shroff) ;[4] the money owed to one financier alone amounted to Rs. 180 million. Shroff later indicated that his marriage suffered as a consequence, and that his relationship with his wife "was tough after Boom."[4]
Boom! is a 1968 British drama film directed by Joseph Losey and starring Elizabeth Taylor, Richard Burton and Noël Coward. It was adapted by Tennessee Williams from his own play The Milk Train Doesn't Stop Here Anymore.
Elizabeth Taylor's career was in decline by 1968, due to her age and recent box-office failures. She sought to use another adaption of Tennessee Williams's work to revitalize her career. The Milk Train Doesn't Stop Here Anymore was unsuccessful during its run, but Universal Pictures had already acquired the film rights for the play.[1]
The film was retitled multiple times to Boom, Sunburst, and Goforth before Boom! was selected. The film was shot on Sardinia and a mansion set was constructed for $500,000. Production was delayed after Taylor contracted bronchitis the day that filming was meant to start. During filming Taylor's pet monkey stole a $1,600 jewel case and was missing for a year. Taylor received a $60,000 brooch from producer John Heyman and Bulgari loaned $2 million of jewels for the film.[2] The film cost 1,913,650[3] ($4,592,762) to make.[4]
A trailer that served as her dressing room came loose from its moorings only a few seconds after Taylor stepped out of it, and "plunged over a 150-foot embankment into the sea".[5] Built especially for the film, the mansion of Mrs. Flora Goforth is situated high atop the limestone cliffs of Isola de Presa, a small island in the Mediterranean off the coast of Sardinia. Along the bluffs are replicas of the Easter Island moai heads, six of them, representing perhaps the spirits of the six husbands she outlived. Some interiors of the mansion were sets in Rome.
The film grossed $514,725 in the United States, $20,719 in the United Kingdom, and $2,898,079 worldwide during its theatrical run. It was a financial failure and lost $3,795,452. $1,207,681 was earned from television showings in the United States.[4]
The film was received poorly by critics. On Rotten Tomatoes it has an approval rating of 20% based on reviews from 15 critics.[6] Variety stated that the film was "one of the biggest box-office losers of the year".[7]
Time wrote "They display the self-indulgent fecklessness of a couple of rich amateurs hamming it up at the country-club."[8] The film was referred to as a "a pointless, pompous nightmare" by Newsweek, an "ordeal in tedium" by The Hollywood Reporter, "outright junk" by Saturday Review, and the Los Angeles Herald Examiner asked "Why was Boom! ever filmed in the first place?".[9]
Filmmaker John Waters admires the film,[10][11] and chose it as a favorite to present in the first Maryland Film Festival in 1999. The film's poster is visible in Waters' 1972 film Pink Flamingos. In an interview with Robert K. Elder for his book The Best Film You've Never Seen, Waters describes the film as "beyond bad. It's the other side of camp. It's beautiful, atrocious, and it's perfect. It's a perfect movie, really, and I never tire of it."[12]
I'm in a location sound production class and our assignment requires us to participate on a student films as a sound mixer and boom op. Although this is just a student film, I cant help but be incredibly nervous. I have NO experience besides feeling pretty comfortable about using the mix recorder and holding the boom pole in the direction of the actor. I have never been on a film set, and quite literally have been thrown into this in a snap, so this is extremely daunting. I don't want to mess up anyone's film sound and I feel weird hopping into this position for the first time ever.
Honestly, being the mixer sounds a lot easier, but I have no experience with micing people or knowing which equipment to rent out. It seems like it requires a lot of leadership experience. Should I start as a boom op first? I would like some advice since I'm giving myself so much anxiety over a student film set lol....Anything is appreciated!
When both persons speaking are visible I memorize the lines while the actors practice (having a script at hand might be helpful) and pan the mic between both.
If the scene is split into shot/ reverse shot, I also try to get both but my priority lies on the person on-screen. Especialy when the boom operator isn't experienced, too much panning might overburden him/her with the result that neither actors lines are clear.
Sometimes, I ask the actor if he needs the lines delivered by the actor off-screen for his performance. If not, I even ask the off-screen actor to remain silent so I can also capture little details of the actor filmed. This however can also be counterproductive as it might worsen the performance.
You can also use a second boom/stand or lav mic for the off-screen actor.
If there still are problems (especially if they talk simultaneously), I like to do wildtracks on set hoping to avoid (too much) ADR.
As mentioned in your other thread, production sound isn't my expertise though.
Set in a small Alaskan town, Cruise Boom follows a community in the face of an
unprecedented rise in cruise ship tourism that pushes citizens to explore what kind of
place they want to live in. It is a film that raise questions about what "good" tourism
is, who benefits and how the experience can work for both visitors and locals.
In scenes filmed in one place, without much movement, a stationary mic could record ambient sound (and dialogue). If necessary, each character's dialogue could be recorded separately via clip-on mics.
According to this patent application by Oscar winning microphone specialist Les Drever (whose award was for "technical achievement in the field of microphone windscreen and isolation mount design"), the thinking behind the hand-held boom (AKA 'the fishpole') is largely one of convenience and cost...
A hand-held or fishpole boom is physically held and guided by a single person (the boom operator). A microphone is mounted at one end of the boom in a fixed angular position, with the other end of the boom being manipulated by the boom operator to position and orient the microphone. The hand-held boom has the advantages of being relatively simple to operate and fast to manipulate in the hands of a skilled operator. It will fit into tight spaces, and is essentially not limited by the required distance of movement, since the operator may move as well as moving the boom. It is rugged and highly portable, as well as being of relatively inexpensive construction, and is in world-wide use.
The primary weakness of the hand-held boom is that the microphone is fixed at a predetermined angle, which can only be changed by interrupting the filming or taping sequence. Only crude sideways cueing is possible by twisting the boom, and alternating forward and rearward aiming is only possible by bringing the boom around in a 90 degree arc, which is not very practical. With complex work, two or more booms must be used, which means that two or more operators will be necessary as well. Even with a single boom and microphone, some movements must be coordinated, requiring for example a second operator to look after the trailing microphone cables. In addition, the hand-held boom becomes tedious to support by hand over a period of time, particularly when the boom is being used with a heavy directional microphone.
In the first picture, the girl a) has got a comfortable leverage grip on the boom b) she's used to maintaining that position, it's her job, she does it all the time & c) that "big mic" isn't big at all, it's a small, light mic inside a wind-shield... known as a dead cat.
Advantages - you can match picture perspective, mainly, is the biggest one, the boom op can make things sound as close or as far away as the frame will allow, allowing for a ridiculous amount of customisability over how the dialogue sounds with relation to what the viewer can see... if you are using radios (the correct term is lavalier - often abbreviated to lav) you have no choice, you have a very intimate perspective, very chesty and overly close and in your face which is not at all desirable on the majority of shots (for fiction anyway - for news or documentary or other non story telling stuff this can be exactly what you want) - and thus understandably the majority of sound people in filmmaking, both post and production sound, will prefer a boom if it's operated correctly - it just "sounds" like what your eyes are telling you. If you've ever seen a silly great wide shot with people in the distance and heard them like they're whispering over your shoulder you'll get what I mean.
Also the boom mic is always the highest quality mic in the shot - small diaphragm hypercardioids or shotguns are what we usually use, the most expensive ones are 2000 each and they have a sound to match their price tag, they have a larger diaphragm than lavs (most expensive will run you around 300 per actor) and capture a more open sound with more detail than something smaller than a pea, especially when operated well and double especially when you're mounting lavs under clothes and cutting off some of the high end (lav mounting by the way, is also the boom operator's responsibility on the set and is an entirely different mountain of skills and practice to swinging a pole - if you sat there wondering why most self shoot documentaries with no sound man on sound like dogshit with no vocal definition and drenched in clothing noise)
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