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Originally Posted by leeg1970  A friend / sound recordist of mine (now stopped as he lost hearing in one ear) won a bafta for recording in Afghanistan. PM me and I'll pass you his details for some advice. LEE G |
Thanks Lee, I will PM you!
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Originally Posted by philper A small piece of advice--forget about stereo. Just getting any usable mono dialog at all is going to be incredibly difficult, and that dialog is important for the content, the story of the film you are making. You need the toughest, most directional boom mic you can get. Stereo explosions etc can be done in post--you are there to get the people--the words to the story. RE: the 744T: I doubt you'll have much opportunity to use 4 tracks of recording. I'd look into a 702T--lighter, no moving parts, consumes batteries more slowly, with some good sized CF cards that will last you a whole day (8 or 16 GB). Another suggestion is some way of slating the camera that doesn't make any noise--an old fashioned bloop light etc (a small light the cam sees and a beep only your recorder hears). If your shooter is using a late model Aaton this would be a great situation for "Aaton" code w/ or w/o the Origine C--then no slating at all.....camera and recorder jam synced once a day.
Also, check in at The Discussion Group @ jwsound.net - Index, this forum is really for audio post, JWSound is location sound people of all stripes.
Be careful.
Philip Perkins |
Thanks a lot Philip, great advice I will definitely consider!