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TECHNICAL EQUIPMENT (needs of the shoot)

Posted: Wed, 12th Mar 2008, 12:42pm

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Aqui

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AUDIO RECORDING FOR TERMINUS (SUGGESTIONS)

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.
Posted: Wed, 12th Mar 2008, 4:31pm

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Simon K Jones

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I'd go for option 1. smile It gives us options in the edit, but in terms of the cut and in terms of audio editing. I think the more post options the better, really. Mixing live I don't think will work in this case. When you factor in all the potential noise from the set it would be a nightmare. smile

The script's been written with POV on the conversations very carefully chosen - if a comms chat is written from the Control Room focusing on Lin, that's absolutely for a reason. I tried to pick the scene focus to enhance whatever was going on.

Of course, whether Ashley sticks to that scene form or intercuts through the conversations is yet to be seen, I don't know what he's planning on that front.

Looking forward to discussing sound options more tomorrow with you and Bennet, Elly......actual recording is not an area I'd considered much until now, I have to admit. smile
Posted: Thu, 13th Mar 2008, 3:49pm

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Aqui

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If noise on the set looks to become a problem thats when we ask people to wait outside. XD Aaaah, the power!!
Posted: Sun, 16th Mar 2008, 11:58am

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er-no

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Surely a take by take blocked structure for sound recording would work best throughout the shoot.

I can make available for the shoot all the needed sound equipment including a flash card Fostex back up field recorder. One boom operator is a must, as a good boom operator with a decent 416 can capture sound better than any other type of sound recording (wireless etc).

All sound recording choices should give you options within the edit. Scenes and individual shots would always be shot more than twice anyways (takes?).

It'll come down to the blocking and the sound man being present.

So I don't feel its either about 'option 1' or 'option 2' - each shot and scene will need to have its own sound compromising.
Posted: Mon, 17th Mar 2008, 3:49pm

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Aqui

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Thats great er-no. I'm not sure as yet what gear we have so any offers of Digital Audio recording gear is greatly appreciated.
Posted: Mon, 17th Mar 2008, 3:51pm

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Simon K Jones

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Bennet's got a big range of equipment to hand already, but it'd be great to correlate what he's got with what er-no's got, then check to see if there are any holes.
Posted: Mon, 17th Mar 2008, 4:11pm

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er-no

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I've got everything that is required for professional sound recording of a location film or television production.

So yeah, pretty much smile

And as I said, I can probably get a mixer and recordist friend called Tom to come along. We need to have a proper chat though Tarn, probably with Ash as well to see if roles in the film need to be filled along with other requirements (equipment wise). SO I can sort out and get at least people and equipment penciled in.