Philip Pflamitzer -
Location Sound Mixer, Boom Operator
If you're looking for someone who does freelance location sound work as a mixer and boom operator, I might be your guy.
Preferably I use my own equipment, which keeps reaction times short,
minimizes the potential for time consuming operating errors on location
and helps to keep rental fees down.
My home base is near Vienna but I am able to travel autonomously
by car to nearly any location where quality dialogue recording is needed.
I am fluent in German and English, don't complain and I am generally
quite easy to get along with.
Whenever I get a call to do an interview, I tend to get quite excited, because it usually means that I get to listen to someone telling a story.
On more than one occasion, I've found myself enthralled by the first hand accounts of someone who's maybe been to a war zone or drives race cars for a living. Also, just intimately listening to someone talk about their passion through my headphones, whether it be cooking, music or designing fashion always feels like I'm getting to know that person on a very personal level. A level which one would otherwise never be able to achieve in the rather brief time span that my encounters with them usually occupies.
I have to say, probably some of the most fun shoots I've done so far fall under this category.
I've travelled underground, into the base of a mountain, I've climbed on top of a wind turbine and I've almost gotten run over by a race car, spinning out of control. There's always something new to experience and I gladly look forward to when I get to tag along for the day. It's fun to take on the challenges the various locations or sets will throw at me, in which ever form they might present themselves.
When I was first starting out in the world of production sound, it was actually doing narrative work. I was shooting indie films or documentaries and always felt particularly well with the boom in my hands. The position of boom operator puts you right in the middle (well, technically you obviously will want to be right outside of frame) of the scene, almost as if you were participating in it yourself. Having a musician's background, the semi performative element of this position makes up half of its appeal to me, the other half being getting my hands on audio equipment and trying to get the best possible results under the given circumstances.
Sound - HQ on the set of "Keinen Schritt Zurück"
Early on, when I first started getting excited about production audio, I realized that for me a large portion of the path into the world of location sound would be cleared by my interest in the rather specific equipment used in field recording. Whenever I get a new piece of gear, I spend hours testing out all the features and capabilities, as well as the limitations and quirks of each device. Knowing your gear is one of the main priorities for when it comes to feeling comfortable and confident on set.
Since filmmaking involves a large amount of technology, it obviously shouldn't be about it, therefore I try to come to the job as prepared as possible. In order to be able to concentrate on capturing good audio an operator shouldn't need to be wrestling someone else's unfamiliar, or perhaps even faulty gear. Whenever possible I advise clients to rent equipment directly from the operator you'll be working with, since this mitigates the aforementioned chance for gear-related stress and will probably cost less than getting it from a rental house.
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