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That is now my thinking. Just the other guy has feature experience, not many others do on the Island, mostly commercials and docs. But how does one ascertain a good audio guy/ team without working with them first?
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Best audio setup for Indies.
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That is now my thinking. Just the other guy has feature experience, not many others do on the Island, mostly commercials and docs. But how does one ascertain a good audio guy/ team without working with them first?
If you're on a budget hire a sound recordist. A sound recordist will save you alot more money than you think. And if you still insist in buying the equipment...
Most important thing about sound is
1. Great Mics/Lav/Boom
2. Great Mic Pre's
3. Time Code / Sync Option. (If its not lock to timecode, its gonna drift eventually)
Sound Devices 702 T are good units cause they address the 3 primary things.
You can also go right into camera (Line In). But stay away from in camera mic pre's. The Mic Pre's in 99.9% of camera are horrible and you will regret it when sitting in ADR sessions.
Cheers,
Most important thing about sound is
1. Great Mics/Lav/Boom
2. Great Mic Pre's
3. Time Code / Sync Option. (If its not lock to timecode, its gonna drift eventually)
Sound Devices 702 T are good units cause they address the 3 primary things.
You can also go right into camera (Line In). But stay away from in camera mic pre's. The Mic Pre's in 99.9% of camera are horrible and you will regret it when sitting in ADR sessions.
Cheers,
- Thread starter
- #63
If you're on a budget hire a sound recordist. A sound recordist will save you alot more money than you think. And if you still insist in buying the equipment...
Most important thing about sound is
1. Great Mics/Lav/Boom
2. Great Mic Pre's
3. Time Code / Sync Option. (If its not lock to timecode, its gonna drift eventually)
Sound Devices 702 T are good units cause they address the 3 primary things.
You can also go right into camera (Line In). But stay away from in camera mic pre's. The Mic Pre's in 99.9% of camera are horrible and you will regret it when sitting in ADR sessions.
Cheers,
Lol.....
David Adamic
Well-known member
Listen to some stuff they've recorded. Ask about the conditions of the shoot. Talk to the directors they've worked with. Listen to what the final product was after a good post guy got hold of it. Heck, even talk to the post sound guy to ask what he thought of the recording he was provided.
Sound Sorcerer
Active member
Not in the 'Island' myself but with loads of feature experience, what's that you need to know? BTW do you have a budget to hire a professional w/ equipment? Just wondering :embarrassed:
Zakaree Sandberg
Well-known member
is it me.. or does it seem like when people say "INDIE" they are really saying "LOW- NO BUDGET"
If I was producing an "INDIE" film.. I would have the same gear as the "STUDIO" films
If I was producing an "INDIE" film.. I would have the same gear as the "STUDIO" films
Brian Ferguson
Story Teller
Most mixers recording in the field rarely use ProTools, most location mixers on Macs use Boom Recorder, the pro version can record up to 64 tracks. You can use a MacBook and a FW interface preferably one with word clock. There is another program Metacorder but it is about $1600 vs. BoomRecorder $260
http://www.vosgames.nl/products/BoomRecorder/
http://www.gallery.co.uk/metacorder/intro.html
Bruce Allen
Well-known member
Cool - I knew about Metacorder but not BoomRecorder. Seems impressively robust. Thanks Brian!
Bruce Allen
www.boacinema.com
Tim Whitcomb
Well-known member
Really? 7 pages of posts and not one mention of the Sennheiser ME66/K6 Shotgun?
no, its not the 416, but 1/3 the price and has a long and proven "indie" track record because it has EXCELLENT sound quality and tone.. especially for voices.
the RODE NT series are all great hyper cartoids for the $ especially for corp/studio stuff
and i find them excellent in car shots with dialogue (stationary green screen of course)
Sennheiser wireless are also the best bang for $ (all the chepar models suck and have no range, intereference etc)... but I would replace the Senn lav mics that come with it with Sanken Cos 11 or Countryman lavs or Lectrosonic... as the latter three are all top notch and used on studio films.
glad you care about this as remember, "sound is half the picture" as the cliche goes..imho. NOTHING takes an audience out of a screening faster than bad sound... and yes that includes a bad cut or black noise or rolling shutter... bad sound, hands down, kills
even the most beautifully shot and acted films.
no, its not the 416, but 1/3 the price and has a long and proven "indie" track record because it has EXCELLENT sound quality and tone.. especially for voices.
the RODE NT series are all great hyper cartoids for the $ especially for corp/studio stuff
and i find them excellent in car shots with dialogue (stationary green screen of course)
Sennheiser wireless are also the best bang for $ (all the chepar models suck and have no range, intereference etc)... but I would replace the Senn lav mics that come with it with Sanken Cos 11 or Countryman lavs or Lectrosonic... as the latter three are all top notch and used on studio films.
glad you care about this as remember, "sound is half the picture" as the cliche goes..imho. NOTHING takes an audience out of a screening faster than bad sound... and yes that includes a bad cut or black noise or rolling shutter... bad sound, hands down, kills
even the most beautifully shot and acted films.
Steve Gibby
Red Savant
I agree with you Tim. My RED cameras received the audio board upgrades last October, and since then for quick shotgun audio in run n' gun, non-hardlined EFP work, I've been using a Sennheiser ME66/KS shotgun. The results have been very good for the kind of audio I was after.
For that kind of mobile EFP work, when wireless mics are needed, and a dedicated sound guy isn't on the crew (or won't fit in the budget), I've always had good results with Sennheiser wireless mic systems.
With the new audio boards in RED, recording directly to the camera, a necessity in certain genres of production, is a very viable option.
Just a thought: Each project may have a different "right tool". When you're real mobile, your budgets are modest, and your delivery medium expects your end product to reflect that mobility, you still need good audio, but you don't have to break the bank to get it.
Roberto B
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nice to read you steve.. as usual.
Yeah, I'd say 744t with wireless cam hop or breakaway connection going into the RED. In the end the best set up will depend on the shoot, set-up and whatever the person with the most power on set wants.
www.giantsoundservices.com
www.giantsoundservices.com
I used the R4 pro for a while. Works fine and stood up to damanding production situations. Sold it after producer asked why my gear looks like it was from the 80's. Also timecode was rarely acurate when on freerun. Timecode was fine when slaved to a master source. Also there was no polywave option when I owned it. R4 pro did not allow you to mix to a fifth mix track, it just records 4 individual tracks.
Chris Pickle
Well-known member
The BIG question for me is how does one find a rock solid method to sync audio to picture in post.... This is a huge issue without some timecode method.
We just shot two features using a slate and outboard sound. It consisted of the Edirol and sometimes straight into MBP with Protools. Sound was great, syncing sucked balls. It's a very big job. Our sound guys built Protools projects. Imported audio and video, manually lined up the clips, then exported frame-acurate audio clips with exact matching names to it's video clip.
We ran a script to link all equally named audio to video, but in the QT file, the link was not self-contained. Just written into the vid file. So we had to put a folder of audio clips in each scene's folder of video. QT & FCP can source that audio file just as fast as if it was self-contained. That method actually was better then "flattening" the clips, because we had a few scenes where we re-exported the audio from pro-tools because of some levels. Instead of re-linking and selfcontaing, we just replaced the audio clips in the audio folder and QT / FCP was none the wiser.
But this method is way too slow and labour intensive. How would one do it with time-code?
I think in the future, we'll record straight into the camera. I just wish the Red's audio controls was as good as a DVX. (most fav option on DVX / HVX is to send boom to two channels at different input levels for safety)
Chris
We just shot two features using a slate and outboard sound. It consisted of the Edirol and sometimes straight into MBP with Protools. Sound was great, syncing sucked balls. It's a very big job. Our sound guys built Protools projects. Imported audio and video, manually lined up the clips, then exported frame-acurate audio clips with exact matching names to it's video clip.
We ran a script to link all equally named audio to video, but in the QT file, the link was not self-contained. Just written into the vid file. So we had to put a folder of audio clips in each scene's folder of video. QT & FCP can source that audio file just as fast as if it was self-contained. That method actually was better then "flattening" the clips, because we had a few scenes where we re-exported the audio from pro-tools because of some levels. Instead of re-linking and selfcontaing, we just replaced the audio clips in the audio folder and QT / FCP was none the wiser.
But this method is way too slow and labour intensive. How would one do it with time-code?
I think in the future, we'll record straight into the camera. I just wish the Red's audio controls was as good as a DVX.
(most fav option on DVX / HVX is to send boom to two channels at different input levels for safety)Chris
I agree. Mr. Gibby's eclectic perspectives are very useful. A lot of Red customers are videographers, cameramen, have the corporate video or stock footage as core business. The cine snobbery of a few should be completely unwanted.
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