Remote Film Sound

[Curtis Franklin]

Hello All.

I have been tapped to do some live film sound mixing/ boom op. I did three days and I absolutely loved it.

Can anyone out there give me some pointers?

What equipment do y'all use?

How much live sound set is actually used in the production?

Thanks

[davebl@dircon.c]

This is my list from the UK, but I hope this helps.

Senheiser MKH range usualy MKH30/60 or 30/40 combination. Also Schoeps MS CCM 4 and 8 combination, the new schoeps short gun is very, very good, wish I had one.

Radio mics, Audio 2020's and tams as they match the Sennheisers.

Mixer, my preference is for SQN.

I tend to prefer this recorder in to my powerbook http://www.metacorder.info

What else do you need to know ?

[Curtis Franklin]

What about some techniques for boom op?

I have been having trouble following actors as they turn their head.

Also for long tracking shots how do I use the boom?

Thanks.

[Curtis Franklin]

Also, who makes good battery powered lavs? I had major connectivity issues with the ones I was using.

[davebl@dircon.c]

Trams are what I use, great mics for rigging and match the short gun well. No problems with conectivity.

I think for boom ops,

first rule is dont use an over long pole.
Second make sure you know exactly what lens is on the camera and you can see how wide the lens is set, develop a seventh sence of placing the short gun in safe area on the camera viewfinder and never drop in to shot. If its in safe area then the sound will generaly be the right perspective for the shot.
third rule avoid lavs for as long as possible, I go t away with out using them for years once, as soon as you rig one youve compromised the sound one way or another. This always results in the audio being the wrong perspective, rustles, handling noise etc, etc.

[davebl@dircon.c]

Originally Posted by pumadrum

What about some techniques for boom op?

I have been having trouble following actors as they turn their head.

Also for long tracking shots how do I use the boom?

Thanks.

This is hard to answer as each set up is diferent but may be this would help to work with.

If its a tight shot on the subjects walking, stay to one side of the individuals and stay out of shot (considering rule 1!) walk with them (in step so as ot to create more foot steps) use a radio link back to the recordist for the mic(s). All the time haveing one eye on the camera lens (rule 2!) and ajusting the mic position accordingly....

Don't use Lav's (personal mics) unless you really really have to as youll only get tight sound on whats most likley a wider shot.

Also set the opole up to have say a Sennheiser 30/60 combination ans swap to a 40 (kept in you back pocket) for wider perspective. the M/S stereo is far far better.

Also only record wild tracks ont eh 30/40 as the image is really good especialy if theres any hint of requireing any suround work.

Theres a really good artical on the schoeps site regarding DMS (a second rear facing cardiod mic added to the M/S mic set up) for suroung work. This creates two extra rear channels in addition to the LCR form the M/S decode. even a rear center if you really wanted to.

Try to use the MKH 60's where you can, MKH 416 phase on pans, its a better mic allround.

[Berolzheimer]

I'd say look or ask around here:

http://www.cinemaaudiosociety.org/phpboard/

& here:

http://www.locationsound.com/proaudio/ls/index.html