4

Such a great opportunity! I encourage you to record the everyday hustle and bustle of life…you probably won't need to travel too far to find really interesting material. Try settling in somewhere for a couple of hours; once people forget you are standing around with a microphone they will return to their normal behaviors, much like nature recording. And ...


4

Sometimes I ask that the Director to wait a few seconds after frame is called by the cam operator. If there's not enough time there. I ask for 15 seconds to 30 seconds of quiet before cut is called on the 'final' take of a scene. The truth is room tone is mostly used from the takes themselves.. not from the separate room tone recording. The only time you ...


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 ...


3

Desert ambiences and open-air markets spring to mind. I have a friend who grew up there; let me ask her what else to go after. Addendum: @Rob - She says, "We went to a small city called Al-Khobar all the time to go shopping, and there's some hustle & bustle of cars, buses, people walking & talking, etc. Except for the language, though, it's not ...


3

Generally when recording you're looking for the best signal to noise ratio possible. If you record something too low then need to turn it up later in post, you're also going to be turning up all the unwanted noise. Personally I try to record as hot as possible without clipping or activating limiters. This may mean initially backing off the gain a little in ...


2

VER (Video Equipment Rentals) has a location in South San Francisco. I highly recommend this company.


2

Yes, it can be done, but you'll have only mono sound on the 5D. Next week I'll start the post of a project where they've done it this way: For the audio to get in the 5D, they used this mic adapter: (http://www.bhphotovideo.com/c/product/674341-REG/Beachtek_DXA_5DA_DXA_5DA_DSLR_Cameras_Passive.html) The sound girl send a mono mixdown signal, wireless to ...


2

My first guess is no. In order to get synchronous playback from your recording device, while playing video back from a 5D, you would need one device to chase timecode from the other. The 5D has no provisions for timecode whatsoever (and they can have slippy internal clocking for video to begin with, so watch out for that in post). In that post you linked to, ...


2

It might sound great but probably not a very practical mic to use in the field because of the big AC power supply. Looks like they made a battery powered supply for it but it looks pretty big too. Not to mention how difficult it might be to find one in good working condition and the cost of maintenance. For what this mic would probably go for there are most ...


2

You can find printable production sound report templates here. A great read on production sound essentials here.


2

Borrowed from a comment I made to another answer asking a similar question: There's known line-level issues with the H4n, so unfortunately it's not quite that simple (thanks to Samson's/Zoom's fault here). It's a Hi-Z (unbalanced, high-impedance) which still feeds thru the preamp instead of being a direct, true professional line level. Leads to distortion ...


2

I need room tone by microphone angle for dialog editing. I usually make fill with pauses between breaths, but if I can even get 10 seconds per angle, then I'm pretty happy. A general room tone is really helpful when I'm backfilling MOS shots, then I don't have to try to make a fill from other takes, or the take prior. A trick that I've been using on sets ...


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

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 ...


1

Look up this topic on jwsoundgroup.net, there are several quite long discussions about it by top professionals in the business.


1

In situations like this, I run the dialogue out into Analog and boost it up with an analogue preamp and then back into Pro Tools - but that's usually the mix. YMMV on digital plug-ins for that gain staging, but I have had the most success on "unusable" low recordings by boosting it in the analogue domain as opposed to in the digital realm. In my experience, ...


1

Just find this thread here :)


1

Interressting. Seems to be somehow affordeble. Are there some testers of this anywhere ?


1

I don't remember any places in NYC, but in New Jersey there were some really cool foresty places near norwood, wich were only a 45 minute bus ride from the grand central.


1

I had the DR-680 but it perished in water during a recording session. Until it drowned, I liked the UI, the recordings sounded great, and It seemed durable enough construction-wise. I used it in a petrol Deca Eargonizer, it fit perfectly in there. I also really dug recording to a SD card. Both of my macs have built-in SD card readers so offloading recordings ...


1

Hi, Seems like a reasonable way to do it. Some questions: Why don't you wire the actors themselves? To get 'better' acoustics? Do you really need to go wireless? I'd rather go wired if the car is stationary. If you do need to go wireless, make sure the transmitters are outside the car. I would put an extra 'plant' cardiod microphone in between the actors. ...


1

Liam, I think you got it right. I've been screwed by editors that don't know how to handle sound so many times that I stopped offering up split track options, and unless I'm posting the project, I record single tracks only - No shotgun on channel 1 with lav back-up on channel 2. Many don't seem to understand the summing issue. I find getting it right in the ...


1

pretty decent and solid piece comparing to the price. Has it´s own character though and I do not like the buttons on the top, two second delay on the solo tracks, inaccurate metering and far too big headroom and the distortion on the headphone channel. I would rate it 7/10 because it has so many channels comparing to the price.


1

I'm using this nice little device now since half a year and i'm really pleased with the quality. I did also a lot of research and i found a comparision between the sd preamps and the ones from the dr680 and there seems not to be the big difference. I mainly use it with rode mics (ntg3 and nt4) for sound fx and ambience Recording. I run it with an external ...


1

I'm not really sure if I understand correct. But in this case it's a kind of trouble-shooting and I would suggest: Playback your original files at home. Two options: If the files sounds good, your record is not the problem. If your record sounds bad, something was wrong with the mic, the recorder or something else. -> This is bad for you, you should have ...


1

Hi, don't know the kmr 82, but own and use the mkh60. Should be a good match with the 70. But if it's a studio recording, why do you need a super long shotgun? Is it impossible to get close to the actors? I'd use a mkh50 in an indoors situation, unless it has enormous reverberations then I would use the 60. Arnoud


1

The call to prayer would be interesting!


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