Can anyone recommend a good boom stand and boompole? I don't know anything about them. I would want a boompole that can extend quite a bit.

Thanks!

Will you always use it in a stand or will you also hold it by hand? A very long pole held by hand can get really heavy and tiring.

I bought this one for my kit. Its a bit heavy to use handheld at full extension but otherwise I've found it to work well.

K-Tek KE-144CCR Avalon Series Aluminum Boompole KE-144CCR B&H

Will you always use it in a stand or will you also hold it by hand? A very long pole held by hand can get really heavy and tiring.

always use it in a stand

I bought this one for my kit. Its a bit heavy to use handheld at full extension but otherwise I've found it to work well.

K-Tek KE-144CCR Avalon Series Aluminum Boompole KE-144CCR B&H (http://www.bhphotovideo.com/c/product/625160-REG/K_Tek_KE_144CCR_KE_144CCR_Avalon_Series_Aluminum.html)

What stand are you using with it?

Using it with a normal light stand with a boom pole holder.

Kathy.

If you have a Mathews C stand, you can get one of these:

Auray Boom Pole Holder BPH B&H Photo Video

This is what I've been doing. I also make sure I have lots of padding under the three base feet to try and minimize unwanted sound.

Then maybe look on ebay for a used pole. Some even have internal wiring, but if it is used, I'd test that first.

Jonathan

Another piece of kit one should have (can't have too much kit!) in conjunction with the tripod-mounted boom pole is a counterweight.

Some boom poles will have an "eye" in the end to attach the counterweight and this can be handy.

With regard to counterweights, besides the standard sandbag there are numerous 'creative' options. Everything from small barbells to plastic liter soda bottles filled with water.

Since tripods and poles tend to be black they could be overlooked by a guest and tripped over. As a suggestion, adding some highly visible things to the pole and tripod leg ends would help with it being seen.

Here's my creative counterweight - a sandbag! But this one's from Tesco for kiddie's sandpits. The plastic bag is quite heavy duty but I still put it in a canvas "bag for life" to avoid damage.

+1 for using a small sandbag or shotbag to counterbalance a static mounted boompole, especially if you are using a clamp instead of a specific boompole holder.

A boompole holder needs the weight of the extended boompole to hold it securely in its hooks, so you have to be careful how you mount the weight and how much you use.

A clamp on the other hand greatly benefits from the full counterbalance of a small 3 to 5 pound weight.

I use a regular Bogen SuperClamp on top of a sturdy light stand. With the clamp open, you can place the entire extended boompole with mic, shockmount, cables, and counterweight into the jaws at the exact balance point of the rig. It will sit there perfectly stable as the jaws are gently tightened.

An extra weighted bag on the base of the lightstand also adds a safety factor.

Also remember to point one leg of the tripod stand or C-Stand directly at the interview subject with the boom extending out over that leg. If the whole thing were to get bumped and begin to fall it will hopefully be diverted to one side or the other of your subject by that leg extended directly toward them.

Can anyone recommend a good boom stand and boompole? I don't know anything about them. I would want a boompole that can extend quite a bit.


If it's for stand use only - then the best are Latch Lake (http://latchlakemusic.com/) (made in the USA).

I have the 1100 stand myself - it looks like a normal mic stand but is, in fact, a lot bigger.

The adjustment is by a special clamp, rather than by rotatable screw clamps and is more secure and faster than a normal stand.

It comes with a 2lb counterweight, so the boom is properly balanced - you can also get 1lb and 4lb weights and they screw into each other to make a heavier counterweight - I also gave a 4lb weight, so I have the choice of 2lb, 4lb or 6lb.

Their bigger stands go higher and longer and have a different counterweight system.

Reckoned to be the best and well worth it.

See pictures - the lady is 5' 8" tall.

.

I've got one of these. They are quite heavy but have a long reach...and it was quite cheap...
Samson — SB100 (http://www.samsontech.com/samson/products/accessories/microphone-stands/sb100/)

Another stand option for around $150 USD is the Manfrotto 420NSB 12.8' Convertible Boom Stand - .
For handheld booming I have a 9' K-Tec KEG100 and a 15' Loon. The K-Tec gets the most use.
I also have the Auray Holder and some standard size MI type booms for sit-down interviews.

Thank you everyone. I was away and I'm just catching up. Looks like the Samson SB100 would be in my price range.
Renton, what else do I need for this? Do I need a boompole or is this a complete set?

A stand would likely suffice for stationary placement for a OMB shooter. A (real) boom-pole is recommended otherwise. My boom pole(s) are used on 99% of shoots I work on. (narrative films, docs, corporate). A boom pole with the C-stand holder could double as a boom stand, but generally not the other way around.

A stand would likely suffice for stationary placement for a OMB shooter. A (real) boom-pole is recommended otherwise. My boom pole(s) are used on 99% of shoots I work on. (narrative films, docs, corporate). A boom pole with the C-stand holder could double as a boom stand, but generally not the other way around.
OK, if I was to go the C-stand route, what are the differences between all the C-stands? What do I look for in a c-stand. I search for c-stands on the B&H site and there are so many of them.
What else do I need to get for the c-stand in order t be able to attach the boompole?
Would this work? http://www.bhphotovideo.com/c/product/139495-REG/Matthews_350580_Hollywood_Grip_Head.html
or do I get this kit? http://www.bhphotovideo.com/c/product/469810-REG/General_Brand_Boompole_Holder_and_Grip.html

OK, if I was to go the C-stand route, what are the differences between all the C-stands? What do I look for in a c-stand. I search for c-stands on the B&H site and there are so many of them.

Such a simple question. Too bad the answers will be long.

C-stands have been around a long time. As a result, they've evolved to do a lot of work, from holding light modifiers to holding lights, all the way to holding boom poles for audio. Veritality is the name of the game with c-stands.

There's "normal" c-stands, and "turtle base" c-stands, for example. You can take the base off a turtle base c-stand, which makes it easier to store and transport if you need it to be smaller to do those things. OTOH, you can get "normal" c-stands with "Rocky Moutain legs" that make it easier to set up on uneven ground or even staircases. Depends on what you need.

A "full" c-stand includes a grip arm, usually 40" in length. A grip arm will have a permanently attached grip head on one end. A "full" c-stand will also have a grip head to interface the stand to the grip arm. That is, a grip head that is not permanently attached to the grip arm.

If you have a full c-stand, you put the grip arm on the stand (attach to the baby pin at the top of the risers). Then, pull the grip arm out of the grip head and set it aside. Then insert your boom pole holder into the grip head and tighten it down. Now you can put your boompole in the boompole holder and adjust it as needed.

As to brands, I tend to favor Avenger stands simply because I keep finding them on the used markets when I need one. I don't know why. Matthews makes excellent stands too. As do a number of others. B&H has a house brand (Impact) that's perhaps slightly below the level of the Matthews and Avengers.

Here's what I use for exactly the duty you describe in this thread: An Avenger A2030DCGKit, with the Auray boompole holder you already provided a link for. Then, you'll want a sandbag (want to avoid bonking the talent with an expensive mic). That's all you need. I use this combination a lot, works a treat and is fast and easy to set up. These and equivalent c-stands show up on the used markets from time to time. Look around until you find what you want.

Such a simple question. Too bad the answers will be long.

C-stands have been around a long time. As a result, they've evolved to do a lot of work, from holding light modifiers to holding lights, all the way to holding boom poles for audio. Veritality is the name of the game with c-stands.

There's "normal" c-stands, and "turtle base" c-stands, for example. You can take the base off a turtle base c-stand, which makes it easier to store and transport if you need it to be smaller to do those things. OTOH, you can get "normal" c-stands with "Rocky Moutain legs" that make it easier to set up on uneven ground or even staircases. Depends on what you need.

A "full" c-stand includes a grip arm, usually 40" in length. A grip arm will have a permanently attached grip head on one end. A "full" c-stand will also have a grip head to interface the stand to the grip arm. That is, a grip head that is not permanently attached to the grip arm.

If you have a full c-stand, you put the grip arm on the stand (attach to the baby pin at the top of the risers). Then, pull the grip arm out of the grip head and set it aside. Then insert your boom pole holder into the grip head and tighten it down. Now you can put your boompole in the boompole holder and adjust it as needed.

As to brands, I tend to favor Avenger stands simply because I keep finding them on the used markets when I need one. I don't know why. Matthews makes excellent stands too. As do a number of others. B&H has a house brand (Impact) that's perhaps slightly below the level of the Matthews and Avengers.

Here's what I use for exactly the duty you describe in this thread: An Avenger A2030DCGKit (http://www.bhphotovideo.com/c/product/289149-REG/Avenger_A2030DCBKIT_AVA2030DCB_Turtle_Base_Century.html), with the Auray boompole holder you already provided a link for. Then, you'll want a sandbag (want to avoid bonking the talent with an expensive mic). That's all you need. I use this combination a lot, works a treat and is fast and easy to set up. These and equivalent c-stands show up on the used markets from time to time. Look around until you find what you want.
Thanks. The only concern at this point I have is whether 40' arm is going to be long enough. I frequently have wide angle inerview shots so I'm not sure if I will be able to keep it out of frame with such a short arm.

I saw some at Guitar Center, it was on wheels. I have a studio, so I'm not sure if want it on wheels or if that is something I care about. Thanks for posting the question, it's good for discussion.

I think you really need to add at least a modest "real" boompole to any stand and holder combination you buy.

Unless it's a very closeup and static shot, you need the extra reach a boompole will give you.

Even if it won't be in the shot, having the mic stand out of the way of the camera operators and lighting stands/instruments is a must and a real boompole in a holder or clamp gives you that reach.

Kathy, if your work is strictly stationary interviews, a lighting or MI type stand would suffice. If you work with boom op, you need the (real) boom/fish pole and the accessories to convert it to a stand configuration.
> AFAIK, 'C-stand' is/was by Mole-Richardson, but now-a-days synonymous with that type three-curved-legged folding stands. If I'm wrong, someone please correct me... I'm just a dumb soundie.

OK, thanks everyone. I'm back to being confused, hahahaha!
So a regular light stand will be enough but I'm better off with a C-stand?
I am only doing sit down interviews. I want to add a boom mic to my set up. I'm one person doing it all. I am tiny girl that needs to carry all the equipment from building to building. A versatile stand would be nice in case I needed to use it for something else but then if I use the stand for something else then I can't use it as a mic stand unless I'm not using both at the same time which I think might be a rare occasion. So, for this Friday I have a mic rented with a boom pole (and I will probably just rent a mic with a boompole all the time so I don't need to buy a boompole). I just need to get some kind of stand. I have sand bags. Should I go with a C-stand or regular light stand?

If you go the lightstand route, I would only recommend a "substantial" lightstand. That will still be considerably smaller and lighter than a C-Stand.

A C-Stand is a very heavy duty piece of equipment. Extremely rugged and an industry standard, but also expensive and harder to transport. I'll put it this way, I don't own a C-Stand despite doing this work as part of a 1 or 2 person team for almost 30 years.

Being in NYC you can also rent a C-Stand if you wanted to, or at least heft one or try putting it in your vehicle if you've only worked with one that was already on the set.

Personally I'm satisfied with what I use: A heavy-duty lightstand, a Bogen SuperClamp, a real boompole with shockmounted mic, a 5-pound shotbag to hang on the short end of the boom achieving perfect balance, and a sandbag on the bottom of the stand.

I've never had a problem, and I have up to 10 feet of height and up to 8 feet of reach.

If you go the lightstand route, I would only recommend a "substantial" lightstand. That will still be considerably smaller and lighter than a C-Stand.

A C-Stand is a very heavy duty piece of equipment. Extremely rugged and an industry standard, but also expensive and harder to transport. I'll put it this way, I don't own a C-Stand despite doing this work as part of a 1 or 2 person team for almost 30 years.

Being in NYC you can also rent a C-Stand if you wanted to, or at least heft one or try putting it in your vehicle if you've only worked with one that was already on the set.

Personally I'm satisfied with what I use: A heavy-duty lightstand, a Bogen SuperClamp, a real boompole with shockmounted mic, a 5-pound shotbag to hang on the short end of the boom achieving perfect balance, and a sandbag on the bottom of the stand.

I've never had a problem, and I have up to 10 feet of height and up to 8 feet of reach.
Which heavy duty light stand do you use? What do I need to shock mount my mic?

I don't see the exact one I've had for years and I'm not where I can look at it for a part number until later today. But looking currently at B&H, I think something like a Manfrotto 367B as a minimum would suffice. Plus it's a standard configuration lightstand usable for any lightstand purpose.

The key for safety is the boompole with mic and counterbalance shotbag are resting in the SuperClamp at their exact balance point. The stand is only holding up the weight, it isn't having to counter any off-balance forces trying to pull it over.

If you have to support heavy or off-balance forces, that's when you need a C-Stand and larger sandbags.

If you're renting your boom mic, you should probably rent the shockmount too unless you always rent the exact model of mic and know its diameter and get a shockmount that can accomodate that particular mic.

B&H has many listed and people have chimed in with their favorites on many threads here.

My 2 cents. Do not buy cheap thinking it is just a stand. Manfrotto and the other name brands are necessary. On cheap stuff there is cheap plastic for locking mechanisms and they fail or break off in your hand when you tighten them.

Also, when I put my boom pole kit together years ago I made a mistake. The pole was set up for an internal XLR cable but the cable did not come with it. I bought the wrong cable. The cable spec on B&H only listed the extended length of the coiled cable. To this day my pole does not collapse all the way. It misses by six inches because of the compressed cable inside it. Not a big deal but it irritates the hell out of me "just because". I have not cut it yet because the factory soldering is better than my work on a cable that takes a beating like that. Make sure your cable works at both lengths of the pole if you are putting a kit together.

Considering your need for light and compact I think the $150.00 Manfrotto stand/boom Rick recommended earlier in this thread is a great place for you to start. 150 bucks, a mic, a sand bag (you have one), and your in. Building a nice stand/pole kit is going to cost a lot more than that and be quite cumbersome and heavy. If you find the Manfrotto set up to be to small for some shoots you will still have it and can always use it in the future for lights and other things.

Steve

Steve

Thanks. The only concern at this point I have is whether 40' arm is going to be long enough. I frequently have wide angle interview shots so I'm not sure if I will be able to keep it out of frame with such a short arm.

You aren't going to be using the grip arm, so it's length doesn't matter. The grip arm is for holding grip equipment for lighting, like flags, cutters, dots, fingers, diffusers, scrims, etc. But when you use your c-stand for audio, you take the grip arm out and set it aside.

All you need from the grip arm assembly is the grip head. You insert the boompole holder in this grip head. Then, you'll need a separate boompole (not a grip arm) to place in the boompole holder.

When I say boompole, I mean something like a K-Tec boompole. Get one with the reach you think you'll need for your wide shots. As long as you remember to properly sandbag the c-stand it should be stable through a reasonably wide range of boompole extensions.

For wide shots you not only need to keep the rig out of the shot, you need to keep the MIC out of the shot. Which brings up proximity issues. You will quickly reach the point of a boomed mic not being a good choice. These are interviews, are lavs not an option? I do a lot of one and two head interviews. I use wired and wireless lavs, often with a boomed Sennheiser shotgun or Rode NT1A (I know, not a good boom mic) as a backup track when I can. In post I decide which track sounds the best. The lavs usually win. On a single head the boomed mic might win because I can get them where they should be.

Steve

For wide shots you not only need to keep the rig out of the shot, you need to keep the MIC out of the shot. Which brings up proximity issues. You will quickly reach the point of a boomed mic not being a good choice. These are interviews, are lavs not an option? I do a lot of one and two head interviews. I use wired and wireless lavs, often with a boomed Sennheiser shotgun or Rode NT1A (I know, not a good boom mic) as a backup track when I can. In post I decide which track sounds the best. The lavs usually win. On a single head the boomed mic might win because I can get them where they should be.

Steve
I'm already using a lav. I'd like to add a boom mic for two reasons, one as a backup, two so I can mix the two mics to have a better quality sound overall.

My stand is a Manfrotto 3365, which seems to be discontinued.

Kathy,

That is what I guessed. I do it all the time in situations very similar to yours. I like it a lot. The budget I work with varies greatly. Sometimes I get a full crew, sound guy is first priority, makeup/hair the last. I am also a SPC. These days the later is more common than I wish it was.

Keep in mind when you start talking about a high quality, full on boom rig you are venturing into the area where having a sound guy there to manage and operate it is the "proper" way to do it. Those sound guys are not there just to hit record. They come with the right kit to do the job. They also free you up to concentrate on your job. I also understand the real world of budget limitations. As a SPC the more roles we fill and the more complexity we add to the systems we use is not always a net gain. When you add complexity and more gear your mind and body are going to divert time and attention from your other roles. For instance, your sound quality may be improved with a high end system but how much attention were you able to pay to directing the talent or noticing small changes in the light that may have effected your exposure. It's is a tough balance we try to maintain. One person can only do so much. And in my experience, the client that refuses to pay for my sound guy does NOT want or expect a decreased level of quality. In over twenty years no one has ever said to me "I am not going to pay for that guy so I will accept crappy audio.". It aint going to happen! Everyone wants the best regardless of weather or not they are willing to pay for it. So...from what you have said about your projects I recommended the light and small side of things to "start with". That makes more sense to me than all of a sudden becoming a SPC that is now committed to dragging around a 12 foot boom pole, C-stand, multiple sand bags, more cables, etc, etc, to every gig in addition to everything else you use. I see the Manfrotto stand/boom as being manageable for you. I have to travel with gear. I use a good light stand, a heavy duty clamp, a fishing pole holder (a video one), and my boom pole on location all over the country. Notice I did not say c-stand. They are great tools, but you do not fly with them. I think I might pick up that Manfrotto stand/boom myself.

Some guys are probably going to give me a little grief for saying I put a Rode NT1A on the end of my boom sometimes. It sat in my edit bay for several years as my VO mic before I finally tried it on my boom. In some situations it works out great for me. It is far better than a shotgun mic indoors. I like it, no apologies made.

Steve

"I put a Rode NT1A on the end of my boom sometimes. It sat in my edit bay for several years as my VO mic before I finally tried it on my boom. In some situations it works out great for me. It is far better than a shotgun mic indoors. I like it, no apologies made"
- Many well kowon & high paid VO artists swear by the 416.. which wouldn't be my 1st choice... but who am I

FWIW- I recorded the (muddy sounding.. IMO) JEJ: "This is CNN" on a U47... a bad mic choice.. but I was young, stupid... and captivated by mic's pedigree.. this comes back to haunt me to this day...

Now that is a funny post Rick. And saying it is overly modest is an understatement so I WILL explain it clearly for those that do not fully understand audio guy speak. But it may not be to your liking because I am a video producer, not an audio engineer.

In plain English, Rick just said he recorded one of the most famous sound bites in the entire world! And it has been played tens of thousands of times the world over. If you are a DVI member over 17 years old you have heard it. It is the voice of James Earl Jones saying "This is CNN". He is also suggesting that the $4,000.00 dollar mic he chose to record it with was not adequate and made it muddy sounding so it haunts him! Modesty at it's best!

If I was the guy that recorded that bite I would be screaming about it to the entire world. And if I recorded it with two soup cans and a string I would claim I used a U47. JEJ has a muddy voice. You may not know that Rick, since you actually DID work with him when you were young. I would love to hear him try to pronounce Neumann or Telefunken correctly and without sounding muddy. Both of those companies have something to do with the U47. But I do not know anybody that can say Telefunken without smiling.

You never know who your talking to on this board folks. It is an amazing place. The level of expertise and knowledge sharing is incredible. So much to learn, and sometimes you don't even know who the guy is that is helping you get rid of that 60htz hum on your Dell computer speakers or helping you understand a C-stand and boom pole. Amazing.

Kind Regards,

Steve

Kathy,
I recommended the light and small side of things to "start with".
Steve

Hi Steve,
Can you clarify your statement?

What do I need to shock mount my mic?

A Rycote USM for a side-address LDC or a Rycote INV-7 (or similar) for an SDC

Another stand option for around $150 USD is the Manfrotto 420NSB 12.8' Convertible Boom Stand - .
For handheld booming I have a 9' K-Tec KEG100 and a 15' Loon. The K-Tec gets the most use.
I also have the Auray Holder and some standard size MI type booms for sit-down interviews.

Manfrotto 420NSB Convertible Boom Stand - 12.8' (4m) 420NSB B&H (http://www.bhphotovideo.com/c/product/513014-REG/Manfrotto_420NSB_420NSB_Convertible_Boom_Stand.html?gclid=CjwKEAjwlPOsBRCWq5_e973PzTgSJACMiEp2YeSyoT 4g3vYVpW0yvCQZilk4xPfzDkCAeXC-IPKUJRoCDtbw_wcB)

Hi Kathy,

The quote is from Rick on P 1 of this thread. What I am suggesting is that you said you are a petite girl that works alone and you have to carry your gear all over the place. This one Bogen stand (its bigger than it looks) takes the place of all the components being discussed for you. It is essentially a boom pole, grip head, and c-stand all in one. And it is just $150.00. Yes it is a compromise in overall reach compared to a C-stand and long boom but it may still work well for you. It sounds like using fixed booms is new to you. If so I think you may be surprised by the proximity requirements of ANY mic on a boom. If they are not close enough to the subjects mouth they quickly fall off and start sounding bad. Booming either works or it doesn't. You don't just stick a mic out there and catch everything. This stand will get your mic in the proper position most of the time. If you don't like it and decide you want to go with the weight and cost of a c-stand/boom pole kit then you only invested $150.00 and you will still have a nice stand/boom in your kit. This stand/boom is great for hair or back lights and lots of other stuff.

Bottom line - For a single person crew this one stand/boom is a cheep, easy, and lightweight answer to boom a mic for an interview.

Kind Regards,

Steve

Manfrotto 420NSB Convertible Boom Stand - 12.8' (4m) 420NSB B&H (http://www.bhphotovideo.com/c/product/513014-REG/Manfrotto_420NSB_420NSB_Convertible_Boom_Stand.html?gclid=CjwKEAjwlPOsBRCWq5_e973PzTgSJACMiEp2YeSyoT 4g3vYVpW0yvCQZilk4xPfzDkCAeXC-IPKUJRoCDtbw_wcB)

Hi Kathy,

The quote is from Rick on P 1 of this thread. What I am suggesting is that you said you are a petite girl that works alone and you have to carry your gear all over the place. This one Bogen stand (its bigger than it looks) takes the place of all the components being discussed for you. It is essentially a boom pole, grip head, and c-stand all in one. And it is just $150.00. Yes it is a compromise in overall reach compared to a C-stand and long boom but it may still work well for you. It sounds like using fixed booms is new to you. If so I think you may be surprised by the proximity requirements of ANY mic on a boom. If they are not close enough to the subjects mouth they quickly fall off and start sounding bad. Booming either works or it doesn't. You don't just stick a mic out there and catch everything. This stand will get your mic in the proper position most of the time. If you don't like it and decide you want to go with the weight and cost of a c-stand/boom pole kit then you only invested $150.00 and you will still have a nice stand/boom in your kit. This stand/boom is great for hair or back lights and lots of other stuff.

Bottom line - For a single person crew this one stand/boom is a cheep, easy, and lightweight answer to boom a mic for an interview.

Kind Regards,

Steve
If I wanted to, can I still attach a boompole to it?

For what it's worth, here's a photo of gizmo I made which fits on a light stand (or whatever) and takes a 'boom pole'. The boom pole is actually a great, extending, aluminium, window washer pole slightly modified...strong and as long as...

Kathy,

The answer to that question is probably yes. But it would still not be the best stand to do that with. If it was done properly it might work, that is not good enough. But I don't own one so it would be better if someone who did responded. Because, again, it would have to be properly counter weighted, secured, and sand bagged, safety here is important. It is not a do all stand/boom. There is no such devise. You are not going to find a magic answer to meet every situation. I suggest you need to start somewhere. It looks like you are in NYC. The B&H Super Store is an awesome place. Can you go there? They will show you the real set ups. That may be best for you to make a decision.

Kind Regards,

Steve

Just read this article Getting By Without a Sound Person – How to Operate a Boompole without a Boompole Operator | B&H Photo Video Pro Video (http://www.bhphotovideo.com/c/find/newsLetter/How-to-Operate-a-Boompole.jsp)
Now I'm back to thinking about c-stand. Ahh :(

Is this a crappy C-stand?
Impact Turtle Base C-Stand Kit - 10.75' (Chrome) LS-CT40MK B&H

I think I am going to get both (c-stand and the Manfrotto) try and return the one that I don't like

I do have a crappy light stand. I use an Impact Grip Head for Lights and Accessories - 2.5" Diameter (http://www.bhphotovideo.com/c/buy/Impact_Grip_Head_for_Lights_and_Accessories___2_5__Diameter__Black_/Ntt/Impact%2BGrip%2BHead%2Bfor%2BLights%2Band%2BAccessories%2B-%2B2.5%2522%2BDiameter%2B%2528Black%2529/N/0/kw/search/BI/19990/KBID/13252/DFF/d10-v1-t12) and a K-Tek K-BC Boom Pole Cradle | B&H Photo Video (http://www.bhphotovideo.com/c/buy/K_Tek_K_BC_Boom_Pole_Cradle/Ntt/K-Tek%2BK-BC%2BBoom%2BPole%2BCradle/N/0/kw/search/BI/19990/KBID/13252/DFF/d10-v1-t12)

I use a K-Tek K-202CCR | B&H Photo Video (http://www.bhphotovideo.com/c/buy/K_Tek_K_202CCR/Ntt/K-Tek%2BK-202CCR/N/0/kw/search/BI/19990/KBID/13252/DFF/d10-v1-t12) boom pole. This boom pole extends upto 16 feet so filming wide is not a problem. To prevent the stand from falling over, a bean bag filled with sand/rice works fine.

Most of the times I do have assistants. However, at times using the boom pole on stand is really helpful.