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  • Hey all, just changed over the backend after 15 years I figured time to give it a bit of an update, its probably gonna be a bit weird for most of you and i am sure there is a few bugs to work out but it should kinda work the same as before... hopefully :)

Is this a decent package for interviews + an indie film here and there?

Scott Lamoreaux

Scott Lamoreaux

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I'm really new to sound and need some help. I've done a lot of research on youtube/articles but want to know your advice.

Will this setup suffice for interview/doc/indie film setup?

Is this a good price to pay too?

Thank you,

Scott

<img src="http://postimg.org/image/z47ion12h/">
 

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Your image is really small, but from the looks of it you've got a decent boompole, a Zoom, and a decent microphone kit. That's really all you need. I can't tell if that kit comes with lav mics, but those help quite a bit as well.

More than anything you need a sound guy who knows what theyre doing. If you're the guy, do your homework.
 
I zoomed in on the image and still couldn't read it. Is that an H5 and a NTG3 kit?
 
Sorry thats weird it was a screen shot but not sure why it made it so small.

It's the following:

Zoom H6
RODE NTG-3 with boom pole, blimp, XLR cable
Boom Stand Attachment for c-stand.

$1200 shipped.
 
I think you need to spend a lot more money than $480 on a sound recorder to get reasonable performance. It's not terrible, but all the Zoom recorders are plastic toys, in my opinion. They are at least better than trying to capture sound on a DSLR, but you're getting really cheap preamps and mics, plus the level knobs are really tiny and hard to adjust. And I don't think you get real timecode except with the H8 (which I still don't like).

I think you'd actually be better off rentering higher-quality gear from Sound Devices and Sennheiser, maybe $150 a day. A lot about sound boils down to getting the mic in the right place, and that's not always possible with a shotgun like the NTG-3. You may well find that one mic won't do it for interviews and indie filmmaking. I've worked on low-budget indies where I brought a dozen mics and used them all, every day (but not on every shot).

I continue to be baffled by filmmakers who spend $40K on a Red Epic or $10,000 on a Raven or Scarlet but can't spend a couple of grand on sound. Sound is the one people will criticize you for, particularly when the project is shown at festivals or on cable or broadcast. "Fixing it in post" can wind up costing you many thousands of dollars, particularly in ADR and editing.
 
I have the ntg3, zoom h5 and sound devices mm1 pre amp. I would say it does well enough for personal projects, and will be sufficient for many projects you work on. But if I had the money to go better in the beginning I wish I had, as I will most likely upgrade in the future. For larger jobs we have a sound guy so I was not to worried, as this audio kit is for smaller work with less budget and personal stuff. If you could get a sound devices 722 and sennhiser 416, or something along those lines I think you would be happier in the long run. But I know where you are coming from, as I am always trying to get the best I can with what I have available. The zoom f8 seems like a good option in the middle as well.
 
I think the mic and boompole are decent for many apps. You should also have a hypercardioid.

I don't care for that recorder as a recorder, and you can not really mix on it.
 
Marc Wielage said:
I think you need to spend a lot more money than $480 on a sound recorder to get reasonable performance. It's not terrible, but all the Zoom recorders are plastic toys, in my opinion. They are at least better than trying to capture sound on a DSLR, but you're getting really cheap preamps and mics, plus the level knobs are really tiny and hard to adjust. And I don't think you get real timecode except with the H8 (which I still don't like).

I think you'd actually be better off rentering higher-quality gear from Sound Devices and Sennheiser, maybe $150 a day. A lot about sound boils down to getting the mic in the right place, and that's not always possible with a shotgun like the NTG-3. You may well find that one mic won't do it for interviews and indie filmmaking. I've worked on low-budget indies where I brought a dozen mics and used them all, every day (but not on every shot).

I continue to be baffled by filmmakers who spend $40K on a Red Epic or $10,000 on a Raven or Scarlet but can't spend a couple of grand on sound. Sound is the one people will criticize you for, particularly when the project is shown at festivals or on cable or broadcast. "Fixing it in post" can wind up costing you many thousands of dollars, particularly in ADR and editing.
Click to expand...

Please understand that I am a Real Estate Agent and Hobby Film-Maker. I'm not booking commercials with my gear so finding something that is better than scratch sound that I can use run & gun as I'm usually on my own when shooting is what I need. If I work on a larger production and the budget allows for a dedicated sound guy, I will hire out 100%. I need this for talking head interviews of myself and clients, personal doc type work, and a indie film purposes if I do a marketing short film for my luxury properties I sell where I need to include dialog. I don't know sound at all but all I'm looking for is something that doesn't pick up a lot of noise, sounds clear and professional (to my ears at least) and doesn't break the bank.
 
If you're shooting interior dialogue, then you're better off with a hypercardioid than a shotgun. Maybe consider something like the Senn mkh50 or Scheops mk41, or if you're on a budget the Audix scx1-hc or AT 4053.
 
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Scott Lamoreaux said:
I need this for talking head interviews of myself and clients, personal doc type work, and a indie film purposes if I do a marketing short film for my luxury properties I sell where I need to include dialog.
Click to expand...
But you're shooting on a Red camera? I'm puzzled. If you're just shooting short real estate presentations, then I would say do it all on a high-quality DSLR like a Canon 5D, then buy a couple of wireless mics and a Sound Devices 722 or something. The wireless lavs will most likely come in far more handy if it's mostly interviews.
 
Scott Lamoreaux said:
Please understand that I am a Real Estate Agent and Hobby Film-Maker. I'm not booking commercials with my gear so finding something that is better than scratch sound that I can use run & gun as I'm usually on my own when shooting is what I need. If I work on a larger production and the budget allows for a dedicated sound guy, I will hire out 100%. I need this for talking head interviews of myself and clients, personal doc type work, and a indie film purposes if I do a marketing short film for my luxury properties I sell where I need to include dialog. I don't know sound at all but all I'm looking for is something that doesn't pick up a lot of noise, sounds clear and professional (to my ears at least) and doesn't break the bank.
Click to expand...

Our latest film (docu) used the H5 with a Sennheiser lav mic for the interviews.
Judge for yourself
https://vimeo.com/147254170
 
I am quite happy with my Seinheisser lab mics. Bought a pair and got cables made up to go straight into camera. When I want to, they go into an external recorder. Total cost was about $1200.

Some of the others are right though, spend more sometimes, and you get better bang for your buck. Sound Devices equipment is on the wishlist, but as a single man operation, what I have fits my needs and also the output. Also a firm understanding of post production sound as well helps, to refine the audio you do have.

Choose what works for you, and then understand that you can refine over time. Any chances you get to imply an extra hand for sound, you will notice the difference, and also allow yourself to focus more on your pictures.
 
Marc Wielage said:
But you're shooting on a Red camera? I'm puzzled. If you're just shooting short real estate presentations, then I would say do it all on a high-quality DSLR like a Canon 5D, then buy a couple of wireless mics and a Sound Devices 722 or something. The wireless lavs will most likely come in far more handy if it's mostly interviews.
Click to expand...

Who cares what I'm shooting on. I always shoot on the best equipment I can afford, always have always will. I prefer the extra resolution, professional cinematic look over a 5D, 16+ stops of DR, ability to shoot HQ slow-motion, RAW workflow and a whole facet of other abilities that RED has over DSLR baked in 1080p h264 codecs. Plus I shoot personal film projects for my finances fitness brand we're building together. I also use RED to shoot still images too. I own a Medium Format digital back but don't shoot commercially, should I not use this equipment because it's overkill by your standards? Of course not.
 
Justin Batchelor said:
I am quite happy with my Seinheisser lab mics. Bought a pair and got cables made up to go straight into camera. When I want to, they go into an external recorder. Total cost was about $1200.

Some of the others are right though, spend more sometimes, and you get better bang for your buck. Sound Devices equipment is on the wishlist, but as a single man operation, what I have fits my needs and also the output. Also a firm understanding of post production sound as well helps, to refine the audio you do have.

Choose what works for you, and then understand that you can refine over time. Any chances you get to imply an extra hand for sound, you will notice the difference, and also allow yourself to focus more on your pictures.
Click to expand...

How does the Sound Quality compare when going direct to camera vs onto a stand lone recorder?
 
Scott Lamoreaux said:
Who cares what I'm shooting on. I always shoot on the best equipment I can afford, always have always will. I prefer the extra resolution, professional cinematic look over a 5D...
Click to expand...
Ah, so for you the sound is not very important. Got it. Sadly, this is often the priority these days.

I would also put in a vote for Sennheiser lavalier mics as being good values, but not always the best in terms of sound quality. I think the key in documentary style filmmaking is to go for wireless when necessary, because if you need a boom you're also going to need a boom operator. And the surroundings will greatly affect what kind of mic works best, and the shooting style will affect where and how you can place the boom.

I would argue that if your clients are watching this material on YouTube or other web viewers, the quality of the camera won't matter as much as the lighting. And the quality of the sound may be at least 50% as important as the picture. Getting wrapped up in high-res specs won't sell another house.
 
Marc Wielage said:
Ah, so for you the sound is not very important. Got it. Sadly, this is often the priority these days.

I would also put in a vote for Sennheiser lavalier mics as being good values, but not always the best in terms of sound quality. I think the key in documentary style filmmaking is to go for wireless when necessary, because if you need a boom you're also going to need a boom operator. And the surroundings will greatly affect what kind of mic works best, and the shooting style will affect where and how you can place the boom.

I would argue that if your clients are watching this material on YouTube or other web viewers, the quality of the camera won't matter as much as the lighting. And the quality of the sound may be at least 50% as important as the picture. Getting wrapped up in high-res specs won't sell another house.
Click to expand...


On the docu mentioned (and linked) earlier in the thread we also had a boom mic on him but the echo created by the garage environment was not as good as the lav cocooned in tape. So we only used the lav track.
btw you can affix a boom on a c stand. You don't need an operator as long as nobody is on the go, which we did.
 
Nathan DuMoulin said:
Wow. The entire thread is Scott's attempt to improve his audio.
Click to expand...

Exactly, Thanks Nathan. If I wanted to start a thread on whether or not I need to own a RED camera I would. I asked about sound not whether or not my camera setup is overkill for my uses. Anyways thanks for the input guys, (even you Marc) -- I don't need to explain myself anymore on the camera gear side. I don't use sound very often hence why I asked what would be a "good enough" for when I did need it, setup.
 
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