Post 1 of 7
Equipment requirements: 1 or 2 MONO SHOTGUN DIRECTIONAL MICROPHONES AND BOOM STICKS. AUDIO MIXING DECK. XLR CABLING (1 or 2)TO FEED DIRECTLY INTO CAMERA SO ALL AUDIO GOES ONTO CAMERA TAPES CHANNELS LEFT AND RIGHT OR MIDDED. IF CAMERA DOES NOT HAVE XLR CABLE INPUTS THEN THE AUDIO FEED CAN BE SENT TO A MINIDISC RECORDER/DAT (DIGITAL AUDIO TAPE) RECORDER
RECORDING AUDIO - 2 OPTIONS HERE
1) SHOOT EACH SCENE WITH COMMS VO TWICE. ONE MIC NEEDED, MONO FEED OF IN VISION ACTOR SENT TO AUDIO LEFT AND RIGHT CHANNEL. SHOOT SCENE AGAIN MIC FAVOURING VO ACTORS, MONO FEED SENT TO AUDIO LEFT AND RIGHT CHANNEL.
Problems: Scenes with voice over and comms effects will need to be shot twice (approx 50% of script which needs to be taken into account in the shooting schedule) The sound mixing will be done in the post production edit (could also be a bonus)
Advantages: If we choose to dub all audio anyway. It can only be a benefit to already have an audio guide track recorded professionally.
2) SHOOT THE SCENE ONCE. TWO MICS NEEDED THUS TWO BOOM OPERATORS. BOTH MIC FEEDS WILL NEED TO BE MIDDED AND FED ONTO BOTH LEFT AND RIGHT CHANNELS. WILL NEED TWO BOOM OPS AND ONE SOUND MIXER TO MIX THE AUDIO LIVE.
Advantages: Scene is shot once and thus saves shooting time. The audio is mixed on set by the sound op which will save time in the post production. Actors are only needed for the shoot and not afterwards for dubbing duties.
Disadvantages: If the sound op mixes incorrectly the entire scene will need to be reshot for audio.
ANY AUDIO SPILL FROM THE VO ACTORS (MIC 2) ONTO THE IN VISION ACTOR’S MIC (MIC 1) WILL SOUND SLIGHTLY ECHOEY AND REVERBY (ACTUAL WORDS) BUT SHOULD WORK AS IN POST PROD THE COMMS AUDIO EFFECTS IS PLACED ONTO THE SECOND AUDIO CHANNEL WHICH CAN BE DIBBED IN AND OUT OR LEFT AS ADDITIONAL AUDIO EFFECT.