stereo or mono field/foley recording

[Jfriah]

You're correct about stereo/multi-channel ambiences. As for 'spot-events' like foley, typically recordings like you speak of, especially in-the-field, are mono. But..."it all depends" applies as well.

In foley ROOMs, sure there may be multiple mics placed. Personally, we use a direct and a room mic and blend both to a single recorded channel (depends on the talents of the engineers). Also, if you're just 'seeing pictures or videos', there may be many mics placed around...not all of them may be active at any given time.

Jeff

[santacore]

It all depends on what you're going for, and how it will be used. In the studio I will generally shoot things mono using multiple mics. For field recording I generally use my Sanken CSS-5 which is a stereo mic. Therefore I usually shoot stuff in stereo, mainly because of the convenience, and also to give me more options later. If I'm doing a simple pick-up around the house or something easy, I will likely just grab a standard shotgun and use that.

I think the easiest way to approach things is to decide how you will use the file later and shoot it that way. Keep it simple and fun to start.

[Rick Sanchez]

I'd agree with Jeff and John, most spot hard effects in the field are recorded using a single mono microphone. More ambient sounds used for background I'd do in stereo.

On a foley stage, they usually will have a few microphones, but only use one or two at a time. Often a close and a far mic so that you can do more natural perspective on or offs by riding the ratio of close to far microphone. Obviously, the more neutral your foley stage is, the better so that you can create your own reflections and/or reverb in the mix.

You will also see a mixture of microphones. A shotgun, a large diaphragm condenser and usually a good dynamic mic for recording loud, high transient sounds.

[iluvcapra]

Originally Posted by Rick Sanchez

I'd agree with Jeff and John, most spot hard effects in the field are recorded using a single mono microphone. More ambient sounds used for background I'd do in stereo.

We would be remiss if we did not mention the occasional situation where three or four guys go out with a dozen microphones and run 16-24 tracks of perspectives, on things like guns, cannons, explosions, and vehicles.

Though CBM would be able to speak to these situations bettern than I.

[max-walker]

Thanks guys, useful tips

[cjguitar]

What John said. I'd go so far as to say that I'd probably do all field recording stereo, and decide later during a project how I want to use it. The nice thing about Soundminer is that you can decide at the time you are searching for files whether you want to spot it in as a stereo/multichannel file or to sum to mono, which I will often to for a lot of hard effects. It just depends on what is happening on screen.

By the way, John, I just noticed the CAS after your name, nice… And the website is looking good too. Congrats on having a good year last year!

Originally Posted by santacore

It all depends on what you're going for, and how it will be used. In the studio I will generally shoot things mono using multiple mics. For field recording I generally use my Sanken CSS-5 which is a stereo mic. Therefore I usually shoot stuff in stereo, mainly because of the convenience, and also to give me more options later. If I'm doing a simple pick-up around the house or something easy, I will likely just grab a standard shotgun and use that.

I think the easiest way to approach things is to decide how you will use the file later and shoot it that way. Keep it simple and fun to start.

[santacore]

By the way, John, I just noticed the CAS after your name, nice… And the website is looking good too. Congrats on having a good year last year!

Thanks buddy! Looking forward to working together again soon.

[Reiner]

Originally Posted by Rick Sanchez

I'd agree with Jeff and John, most spot hard effects in the field are recorded using a single mono microphone. More ambient sounds used for background I'd do in stereo.

On a foley stage, they usually will have a few microphones, but only use one or two at a time. Often a close and a far mic so that you can do more natural perspective on or offs by riding the ratio of close to far microphone.

I do it exacly the same way. Extremly rearly there´ll be some ambient recording in surround.

[subbasshead]

the only correct answer is: 'it depends...'

- on the specific sound
- on the original environment
- on the final context

= too many variables for a generalised answer


but doesn't this question confuse 'capturing' with 'final use'?

i record stuff all the time, often not knowing what its final use will be

sure, if its for a specific moment in a film sometimes I will note the
perspective & attempt to recreate it, but it would seem to me the issue
of how its presented to the mix is more important...

eg if recording the sound in stereo, but it then needs to be a mono point source onscreen: this is no problem as long as that is how you treat it, ie just because you recorded it in stereo, don't present it in stereo to the mix if that isn't appropriate...

[tenfold]

Just a quick question pertaining to the foley stage recording.

Let's say you record 2 channels, one close-up and one room, at what point do you combine them into one mono file? And when you have found the right balance for that particular mix do you save it as such in eg Soundminer? If you do, doesn't that restrict your sound library for future mixes that could have benefitted from a different balance between the direct and room signal?