I need URGENT!!! advice

Discussion in 'Media Production' started by grizzzly540, Jan 17, 2008.

  1. grizzzly540

    grizzzly540 Guest

    O.k thanks to all whos been helping me thus far. We start shooting tomarow and Ive run into a problem. My original plan to record Lav 1, Lav 2, Shotgun 1, and shotgun 2 on 4 separate tracks was killed when I couldnt get a hold of a 4track recorder. My next plan was to pan Lav 1 and shotgun 1 left and lav2 and shotgun 2 right (separating the voices of the two actors) NOW I find out that the mixer I have, the Shure M367 is multi mono and not stereo so I cant pan. Plus now I dont think that we will have 2 shotgun mics, only one.

    heres what I got:

    2 UHF wireles lavaleirs
    1 Shotgun mic with boom pole
    1 Shure six channel (multi-mono) mixer
    1 Marantz PMD660 (stereo with 2 built in mic pre's) Field recorder
    2 Actresses

    We will be shooting in an apartment

    HOW SHOULD I CONFIGURE THIS?

    I was thinking I have 2 options. I could plug one mic into the recorder's built-in pre and the other two I can sum together in the mixer, and then exit the mixer mono into the 2nd channel of the recorder. My choices would be to separate the voices with the lavs and not use the shotgun mic OR sum the lavs together and keep the shotgun mic on a separate channel.

    any other Ideas. Please tell me what you would do in this situation. Do I need to run to guitar center before we start? I want good results.

    Thanks in advance, all coments are welcome
  2. bent

    bent Guest

    I vote for this option, my reasoning being that if anything happens to the lav(s) (they tap it, they hug and click them together, one falls off, etc.) you've got a pristine dedicated boom mic track to fall back on.
  3. BRH

    BRH

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    Yep. shotgun will sound better. Needs to be on a seperate channel by itself.
    But, shotgun not good for interiors. Do you have a regualr hyper-cardiod or cardiod without the interference tube?
  4. grizzzly540

    grizzzly540 Guest

    I can try to get a hold of a RODE nt5, is this good for this aplication?
  5. grizzzly540

    grizzzly540 Guest

    Any other suggestians before we start? Thanks again
  6. Cucco

    Cucco

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    Any chance you can get an MK41? The NT 5 has a pretty broad pickup.
  7. grizzzly540

    grizzzly540 Guest

    So the first day of production came and went and I decided to sum the lavs and keep the shotgun separate. It turned out that the shot gun sounded much better then the lavs did.

    the lavs sounded too echoey, any suggestions on fixing that? the only problem with the shotgun was the fact that there are 2 actors in the scene and when you move the boom, you can hear it. Any advice on that?

    My Boom Op has never done it before and neither have I so I don't know what to tell him. He's not the greatest at folowing direction anyhow so I found myself wanting to just do it myself.

    Any one with similar expieriences they could share with me, comments to what I'm doing so far, Advice for what I can do in ther future, or warnings for problems that could occur that I should prepare for, please respond.

    Thank You.
  8. How are scenes shot? Usually they are done at least twice if there are two actors, one from each POV. I would only record one actor's dialog at a time. Wait until the second take when they shoot from the other actors perspective to move the mic.
    There needs to be a talk with the director about compiling a scene's audio from multiple takes.
  9. bent

    bent Guest

    ADR
  10. BRH

    BRH

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    Yes, the boom mic will usually sound better. Make sure your boom operator is booming during rehersals! Just like camera blocking. I've seen new boom ops just stand there during rehearsing and only boom during a take. Big mistake. Have him/her do a boom check with camera to make sure boom is not in picture and he knows where the frame line is, and what the script reads. Don't be afraid to get in close, but turn boom quitly to follow the script. And watch for boom shadow from lighting... be on the best side away from key lighting. One boom can handle 2 actors no problem. Also get 60 seconds room tone. Have Boom record a couple of extra takes of dialog without camera... wild.. in case you need to grab something later during post.
    Handling noise.. If you have low frequency roll-off on mic or mixer or camera, use it. Don't move hands on boom during a take. Always have a windscreen on boom mic, even if not outside. Moving mic needs a windscreen. Always. Foam Ok inside. Good luck with the project. Production sound is alway better than having to get the actors back to ADR.
  11. bent

    bent Guest

    True. And if they can't get their lines spot-on then it's a waste of time and money...
  12. grizzzly540

    grizzzly540 Guest

    Thanks a Lot
  13. Cucco

    Cucco

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    What??!

    It's called multiple camera angles and edited in post. Last time I checked, directors don't like running multiple takes if they don't have to.
  14. MadTiger3000

    MadTiger3000

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    What x 2

    Charlie Chaplin didn't even do it like that.
  15. MadTiger3000

    MadTiger3000

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    OK, I looked it up (love trivia).

    It was there for TV by 1928.
    By the DesiLu days, it was there for films.

    (It being multiple-camera setup)
  16. Cucco

    Cucco

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    Could you imagine the cost of films shot on Super 70 if all actors were shot one at a time? Jesus Christ, we'd have to pay $89 a ticket to see Far and Away...
  17. Cucco

    Cucco

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    And I was pissed at paying $5 for it!
  18. for-a-song

    for-a-song Guest

    your right, most well have multable camera angles, but low budget shoots are lucky if they have more than one.

    What I would do if your having a prolem with aquiring the dialog with the two actors is get there lines wild 3-4 times each right after they do there scene.

    This well hopefully keep em in character and save you from any ADR at a later date.

    Hope this helps out :)
  19. grizzzly540

    grizzzly540 Guest

    Well we are only using one camera. All gear is being rented and its coming out of the directors pocket so we are pretty limited.

    New question:

    The recorder I am using does not have TC so we are using slate for sync. When shooting is done, what then. Do I sync it up before it goes to the video editor? does the video editor sync it up? Do I wait for the video to be edited and then add sound to it?

    I am doing all the audio post production as well.

    If I wait for the video to be edited then I lose the slate, however I still have the camera mics audio to sync up to I guess.

    Any suggestions?
  20. BRH

    BRH

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    Let Video editor sync. Good job on the slate. Pay no attention to others that don't know what shooting film style is.... one camera! 3 camera only for live stuff, or blowing something up.
    Get your master and coverage.
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