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uosdwis · 26th January 2010

I'm sorry to have to say it, but what you are describing is pretty much a recipe for disaster. In post production you can get away with cheating and winging it to a certain extent. In production audio you cannot, unless you are very experienced and well equipped.

If you don't have the funds to hire experienced people, this is my advice:

Forget the 003 and rent something like a Sound Devices 788T. You can put each mic on its own track and it supports timecode. And more importantly, it's stable.
Use both lavs, boomed and possibly hidden stage mics to get as much material as possible to work from.
If the acoustics are bad, try hypercardiods instead of shotguns on the booms.

Plug-ins or future PTHD purchases are the least of your problems. If you can walk away from the shoot with decent audio, everything will be alright. If not, nothing will save you.

26th January 2010	#5
uosdwis Gear maniac Joined: Feb 2003 Posts: 206	I'm sorry to have to say it, but what you are describing is pretty much a recipe for disaster. In post production you can get away with cheating and winging it to a certain extent. In production audio you cannot, unless you are very experienced and well equipped. If you don't have the funds to hire experienced people, this is my advice: Forget the 003 and rent something like a Sound Devices 788T. You can put each mic on its own track and it supports timecode. And more importantly, it's stable. Use both lavs, boomed and possibly hidden stage mics to get as much material as possible to work from. If the acoustics are bad, try hypercardiods instead of shotguns on the booms. Plug-ins or future PTHD purchases are the least of your problems. If you can walk away from the shoot with decent audio, everything will be alright. If not, nothing will save you.