4

It's an excellent question. For cutscenes, there's definitely a trend to use more perspective, I like to record both using perspective mics and a boom or lav mic to always have a close option. For in-game cinematics which are pre-rendered you're relying on the capabilities of the audio engine to use real-time DSP effects to create the sense of depth, such ...


4

Another issue in why a lot of games choose the close mic perspective is Localization. Localization is generally outsourced to different recording studios depending on language, and using multiple mic set up in the english version complicates and could serious compromise the quality of the localized versions. In this respect it is much safer to record the ...


4

we recorded the dialogue for brothers in arms 2 and 3, as well as borderlands, duke nukem and dragonball z budokai 3. In each of those cases we ran a 2 mic setup, but that was to handle main challenge of keeping the yelling and talking/whispering phrases in line with one another and working well. Its my experience that perspective recording would ...


4

One of the techniques recommended is to trail off to the next character who speaks during the last moments of the subjects line. This gives you time to catch the next actors line while simulating the natural way that some people drop in volume as they finish a sentence. This isn't a switch to next actor during the first bit of the last sentence. When I say ...


4

Assuming it's a "standard" sort of scene... Two Shot (won't really get wide in a car), OTS, OTS and a couple of CU's, then the most important thing you can do is to make sure you get LOTS of room tone (ie background sound) for each setup. Inevitably the noise is going to be different from one side to the other, and an editor(you or another) will need that ...


4

I would definitely use a dynamic microphone like everyone else is mentioning, but I would also use a pad. I've done a few vocal recording for hardcore bands and a lot of times they are clipping even with the preamp gain at the lowest. A 50db pad would be great and you won't have to back away from the mic all that much and introduce the room into the ...


3

If you feel that a line is totally cut off (off mic) pull the actors a side directly after a take and do wild tracks. Just make sure that you slate them as such. This is very helpful for sound editors down the line.


3

As others have rightly said, the problem you are experiencing is called clipping. Clipping occurs when the signal input to a step of sound processing (such as the mic capturing the sound, the computer recording it, or any hardware in between touching it) can't handle the level of the signal in whatever form it is in. The end result of clipping is that the ...


3

This is caused by one of two things... either your going past the sound pressure your mic can handle, or you're clipping at some point (usually on the computer). A) As suggested, you can step away from the mic or reposition the mic. An alternative is to simply look away from the mic a bit when you scream. B) Often the issue is clipping, not the SPL at the ...


3

The best sound is not from neither the mouth nor the chest, it's from the golden spot in between. See, the mouth gets you all the treble you need, and then some, whereas the chest is all core and bass. By forgetting your eyes altogether, and giving all your focus on the sound using the eyes for nothing but coarse guidance, you can find a softer, fuller, more ...


3

Something that will help in this situation tremendously is getting a hold of the script, becoming familiar with the actors' lines and using the rehearsal to determine the speech rhythms of their delivery. This should hopefully allow you to move the boom more naturally with the conversation. Fluidity will be the most important thing to achieve.


2

there's already a lot of good advice here, so i'll just ditto what they said and add this: if the scene is indoors maybe try to find a different mic. The NTG2 has a very tight pickup pattern and will sound funky off axis very quickly. If you can find a hypercardiod mic instead (or at worst a cardioid like the NT5) you'll have a lot more off axis latitude -...


2

Wild lines and multiple takes. Your dialogue editor will thank you. Don't know how many times some 1-2 wild takes and/or 3-4 regular takes (instead of 1-take wonders) have saved a complete trainwreck scene in the OMF from going into ADR at all - and how much money that's saved. I agree with others about learning the flow of the scene, always good to have ...


2

http://www.youtube.com/watch?v=4mPQL9PUI-w&feature=player_embedded Be a ninja! Like C3 Sound said, learn the lines, learn the flow of the scene, so that if they improve, you feel it out also. Make sure you work with camera and gaffer to give you the ability to swing the boom. Boom ops are very active on set, not just hold it up over people for the ...


2

Yes, an excellent question. A lot of game dialog is driven by schedules (unfortunately). Any change to the standard VO process (large diaphram mic in a recording booth) that might threaten a schedule is hard to shepherd thru. Improvements are the result of individual audio directors or VO directors pushing for them. The results of alternative ways of ...


2

To answer your first quesiton, very dense and thick foam (properly attached too to prevent vibration transference - as in, not just "set and forget" flopped ont top of the car) should do the trick. That's effectively what the Rycote rain covers are in a general sense - thick and dense over-sized foam to help absorb the rain drop sounds from transferring to ...


2

In my experience it depends on the microphone, voice of the actor and booming experience. The low end of a voice is created by the chest not the mouth. For intelligibillity the mouth is important, S an T's are pronounced at the lips. If you're a great boom artist, you can point at the chest (from above) in line with mouth. This way you get the best of both ...


2

Swap the mic for a dynamic if you can and give that a go. Try reducing the mic gain on the interface if you can. Using a compressor on the DAW won't help. And if you're in control and can ride the gain before you let rip that might help a bit ;)


2

A mixer will have multiple channels for your multiple inputs. Each channel will have a trim pot (gain knob) for adjusting the input level. (Sidenote: some channels may not have a trim, those are line-level inputs, not mic-level inputs, and they are meant for things that already at "line-level") You set your gain as you need to for each channel, nothing ...


2

I don't have enough rep to comment, so I'll answer as best I can. First, I think the biggest thing you're going to need to deal with is the room in which the meeting takes place and the arrangement of the people speaking, physically, within that room. If the meeting can take place in a room that's relatively small, has some thick carpet on the floor and ...


1

Yes you should always use the boom as well as a lav, as the lav mic could sound crappy and if that's all you have then you're screwed. It could fall off, scratch against clothes, get wind noise, lots of things, but if you have a boom over the top then you're covered.


1

The h4n has two inputs, so recording these separately should be simple, which I very much recommend doing.


1

The use of a field mixer is not restricted to mixing several sources into one track. It is often used to send individual sources to individual tracks. When you need to mix several sources into one track in a live dialogue recording situation, you have to dynamically deal with each of the sources as the shot goes by. Having sevral microphones continuously ...


1

With keeping gain level and distance in mind I'd suggest you get your hands on a Shure SM57. The cool thing about this dynamic mic is that it's actually an instrument mic. Great on guitar and snares, but in your case, great for recording loud vocals. I'd say; give it a try! Good luck.


1

I'm not aware of any reasoning in this regard. If it was the case that pointing at the chest is better, then we'd be far more likely to clip lapel mics to people's belts and we wouldn't make headset mics at all. The only reasoning I can think of is if they also were trying to get the sounds the actor makes outside of just dialog, such as footsteps and such....


1

Unless proximity/breathing/pops are any concern, then point the mic at the sound source - i.e., the face. The only reason I could think that anyone would say different is to preclude extraneous ambient noise.


1

Blankets will help with room reflections/absorption, but they're not the best at preventing noise leakage. It sounds like you need some sort of isolation material. The best isolation product I know of is mass loaded vinyl. Perhaps you could seal the window with it, building some sort of mass loaded vinyl curtain. The problem is that stuff is extremely ...


1

I've found that somehow just really digging into the scene and story helps with that. If you get really involved in the story, and the conversation, then the cues are often fairly natural. Bill asks Clara a question, Clara responds, etc. There are always the hard to remember ones, interjections, stuff like that. And of course when the actors are ad libbing a ...


1

I've never recorded in this typical situation but i could be done. Espesecially if the image (shot and frame) show the actual location and the listener is supposed to feel this space. On loudness/heaviness of background noises. It depends on the time of day (evenings will have less traffic), but also the car model and if windows or doors are being opened ...


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