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Hi all,

I have been asked to get some ideas for what is required regarding sound gear for on set recording and for post production. I do have some ideas but if anyone has some links that would point me in the right direction, that would be great. It is for an educational institution that is sadly quite stingy with money so whatever you can offer would be greatly appreciated.

  • Can you be more specific? Does the source/location audio need to be recorded in surround, or just the final mix? 3D doesn't necessarily really exist as a technical term with audio. Sure, companies try to bandy it around as a marketing term, but the closest thing we actually have is "Surround" and "Depth of Field" and an approximation of an "Immersive" audible environment. – Syndicate Synthetique Feb 22 '11 at 8:43
  • I do have a lot of suggestions depending on a lot of variables. What is the production/set recording of? What types of things will you be recording and what are you trying to get across emotionally and psycho-acoustically audio-wise in the end? What types of tools are you already working with/have and What type of "3D" effect are you talking about here? Is it supposed to be "Immersive" for the listener? What is the playback system/method? *and if it's not too personal, what type of budget are we talking about? – Syndicate Synthetique Feb 22 '11 at 8:48
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Audio for film has been in 3d for decades. You're dealing with the same gear and the same production/mixing philosophies (possibly with some exceptions in regards to panning). Thus far, no one has mixed a film while having a full 3d visual; they've still been working with a 2d print and occasionally checking out a 3d version for reference. What difference there is lies simply in creative approach, which is going to be influenced the most by discussions with the director.

So:

On set production gear = same

Post production gear = same (5.1 system)

  • A slight semantics disagreement here... none of those films are true 3D Audio. In current standard surround systems we have Length and Width, but not true Depth (Height), thus making it virtual surround and a misnomer when labeled as 3D when dealing with a certain range of systems. There's only two types of systems (made thus far and potentially developed to be "standards") that can reproduce a true 3D axis. Those formats are 10.2 and 22.2. There's only been one film produced in 10.2. Those systems have only been used in exhibitions and are considered to be experimental due to practicality. – Syndicate Synthetique Feb 22 '11 at 20:15
  • @Syndicate - you are, of course, correct. i just prefer to keep explanations simple. – Shaun Farley Feb 22 '11 at 21:54
  • @Shaun - Wasn't trying to be right as much as just trying to bring accurate info to the table. I spent years teaching audio post and seeing how rumors or misinformation can spread gets to me I suppose. I do think that sometimes my posts are too long at times, so I can appreciate your desire to keep it simple. – Syndicate Synthetique Feb 23 '11 at 2:13
  • @Syndicate - lol. i've been there before. teaching audio isn't always the easiest thing to do. i had one student who couldn't understand the concept of a bounce until i explained it to him in terms of HVAC air flow. that was an interesting day. i suppose you could technically still argue that it's in 3d, as it has a vertical position...it's just not "moving" within the vertical plane. – Shaun Farley Feb 23 '11 at 2:56

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