Yeah, man. That's what I'm talking about. I wasn't on set, but there were a few movies in Studio Babelsberg (Die Purzfraueninsel is the one I remember for sure) that used a similar approach. I didn't edit or mix the dialog, but I loved the way it sounded on the stage, gave the dialog a real feel without mucking around with panning and dialing in reverbs. (I was supervising sound editor but let die deutschen Editoren, Vera Burnus and Dominik Bollen, handle the dialog while I was supervising Foley and the effects editors and designing sounds. Then I was the only sound editor on stage, so I did work with the dialog as a linked pair of mono. I'm pretty sure the re-recording mixer brought the S up on two faders so he could play up one side of the room over the other.)
Quote:
Originally Posted by MIKEROPHONICS
Hi Tor
When I was at the BBC (early 90's) many Fischer boom shows (Eastenders, sitcoms etc) were MS booms. AKG 522 on interiors and often Neumann RSM 191 on poles for exteriors.
I was trained to operate a boom in stereo - you learned to not pan so that the image moved and to do more lateral movement.
Boom operating was not an art I excelled at though, and was better at operating AMS Audiofiles and Akai Samplers (the new whacky toys).
As a dubbing mixer, we used to have Booms on the desk as two faders (M and S), - one mono and one stereo. Converting is simple.
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