Basic Red Sound Kit/Package

[Jason Ing]

I'm trying to pick up a few tips on these audio threads. Sound is, admittedly, my weakest area.

If I want to shoot shorts/features, what is the basic sound equipment that is needed? Shotgun mic, headphones, boom pole, mixer, and cables?? And wireless mics/system?

Can anyone recommend quality, but "reasonable" priced brands/models?

Thanks!

 

[Shawn Nelson]

What is your budget? Hopefully you've alloted $3-$5k for this, without the wireless, raise that to $10k with. I've spent over $15k on audio and it's still not enough.

 

[Alexis Hanawalt]

I would definitely call the Sennheiser G2 Wireless system good enough - not the best, but at about $500, gets the job done.

I edited 600 hours of doc footage that made use of a couple G2 wireless mics, and the audio had decent fidelity and there was only interference I'd say 10 minutes of those 600 hours. The interference just sounds like static.

 

[Jason Ing]

My budget isn't 10k, so maybe 3-5k is something that I could gradually spend by building up my kit -- kind of like you, Shawn, but not as fancy. :tongue:

But to start with, all my budget is going to camera, camera accessories, and lights. But I don't want to sacrifice sound as I know it's extremely important as well. That's why I needed to know what is the minimal needed to get good, decent sound. I want to make dramatic shorts and maybe even a feature. I'm interested in drama and action.

What is something that is "good enough" for an independent feature film release, let's say. I've watched independents films that the sound was so crappy that it broke me out of my movie watching experience. But then there are others that are good enough that it doesn't get in the way but it's not, wow, fantastic. That is what I want, I think. And not problematic during shooting and post; something like what Cinewalt suggests. It gets the job done.

I now have a 1 wireless recommendation. Cool.

Thanks guys.

 

[David Didato]

At that budget level you could look at shotguns like the Audio Technica at835b or 815b, or Sennheiser mk66. I also have the wireless G2 kit which is good. You may need 2 of those kits. A long boompole like a Gitzo. Seriously consider a digital recorder and or a field mixer to get the best quality. I've heard Sound Devices mixers are good but each sound pro will have their prefs. You'll also need a fuzzy or blimp - good ones are not cheap. And a shockmount isolator. Can't do without Sony MDR-7506 headphones either.

However much of the great sound in features is a function of great mixing in post, effects and creativity in foley and field recording, each of which is a skill to master in its own right.

 

[Jason Ing]

I already have Proline 650 headphones for personal listening. Is this good enough?

A digital recorder/field mixer... is this primarily so I can monitor the sound and adjust the levels of the mics in the field? When you say "recorder", it's not actually recording is it... or am I completely off thinking I'm recording to the red camera. uh, oh... so this is really like film where audio and video is capture separately? I guess I was thinking more like video cameras that capture both. I was reading that 422 thread that even Red uses that mixer, I think... but it's like $2500 or so.

Gitzo... thanks. Audio Technica and Sennheiser I've heard of and don't think I could go too wrong with those brands.

Shockmount isolater... okay, these are those little things that I don't know about but it seems this one I'll need... have to learn more... thanks.

 

[Wes Printz]

Shockmount isolater... okay, these are those little things that I don't know about but it seems this one I'll need... have to learn more... thanks.

Check out the RYCOTE web site to start for wind shields and covers.

http://www.rycote.com/

Commonly used is the zeppelin housing with a wind jammer, fully isolated with shock mounts.

 

[philper]

What I'd recommend is that you not go spend your money on a lot of audio gear if you don't really know how it works in practice and what you'll need for your movie. Work with someone whose profession is audio and let them get what they need to solve the problems at hand. The audio gear needed to to a feature film of any complexity at all that is on a par with the quality of the Red camera costs far more than $5000.

Philip Perkins CAS