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The standard in major films (Mics) Condenser Microphones
Old 24th December 2010
  #1
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Aaron Rash's Avatar
The standard in major films (Mics)

Very curious, Does anyone know what the norm is for film production? There's definitely something special going on with film vocals. Sounds almost like they run it through a tube pre and roll off the highs with an EQ to make it sound warmer and less harsh.
Old 24th December 2010
  #2
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eoats's Avatar
... "tube pres" that's not the answer.
Old 24th December 2010
  #3
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The standard in major films (Mics)

Excellent Production sound. X-curve. More Better EQ in Mix.
Old 24th December 2010
  #4
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charles maynes's Avatar
 

wow- maybe I have been living under a rock, but I think it is a rare thing to hear "good" sounding dialogue in most films- It usually sounds pretty harsh- either crispy, or dull- the thing that seems to dull that is that it tends to be consistent (which speaks of a good dialogue re-recording mixer). As well- great recordings on set "are" possible, but they tend to not be the norm.

I dont mean this as a criticism of the set recordists and boom ops, because many of them are very, very good.... however the sonic conditions they work under are typically unacceptable in most sound recording circles.
Old 25th December 2010
  #5
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ggegan's Avatar
Quote:
Originally Posted by charles maynes View Post
wow- maybe I have been living under a rock, but I think it is a rare thing to hear "good" sounding dialogue in most films- It usually sounds pretty harsh- either crispy, or dull- the thing that seems to dull that is that it tends to be consistent (which speaks of a good dialogue re-recording mixer). As well- great recordings on set "are" possible, but they tend to not be the norm.

I dont mean this as a criticism of the set recordists and boom ops, because many of them are very, very good.... however the sonic conditions they work under are typically unacceptable in most sound recording circles.
I agree. Pristine dialog tracks are very rare, even when recorded on a sound stage, because of all the AC noise and tones generated by the lighting. This is the main reason I decided to become an FX mixer when I started mixing, because dialog seemed to be too much about damage control. However, with the way the post audio biz is going, it is not so realistic to specialize as much as was demanded in the past. Now you've got to be willing to handle everything.
Old 27th December 2010
  #6
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The standard in major films (Mics)

most of the time "usable" is great, and anything better is icing on the cake!
Old 27th December 2010
  #7
Been experimenting with using a single stereo-surround mic for guerilla style documentary dialog using compact still cameras having HD video ability.

Tact is finding ways of getting the most intelligible and natural sounding audio directly into the camera and/or audio deck with only a single microphone. And this while working widely different ambient working conditions.

Sometimes this works spectacularly giving natural sounding high quality dialog, and sometimes not so well where it's best using a lapel mic for at least logistical reasons.

Below is one test video where both a single stereo mic, AND going into the camera's ALC audio channels worked very well. Other times knew better abandoning the ALC for adding manual deck recorded stereo audio into the timeline.



My site's videomic page is a running dialog about finding the easist way to get natural sound into film projects, and showing some of the custom designed support gear. Page recently updated at: http://www,sonicstudios.com/videomic.htm
Old 27th December 2010
  #8
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Bob Olhsson's Avatar
 

Schoeps MK41 is about as standard as it gets.
Old 28th December 2010
  #9
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mikevarela's Avatar
 

+ 1 on Shoeps

Also the Sennheiser 416 as boom and the Sennheiser G2 and G3 series lav's.

Like Gary said though, the Dx editor and mixer combo can really make the difference. However, I've worked on many shorts and can tell you that a good sound recordist on set along with a director willing to spend the time to do it right makes all the difference, though usually it's not much of a consideration and thus the heavily scarred tracks. Also remember that if you're in production, please please get some room tone and any extra hard Fx (specialty) you can!
Old 28th December 2010
  #10
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BIGBANGBUZZ's Avatar
 

The standard in major films (Mics)

Quote:
Originally Posted by ggegan
dialog seemed to be too much about damage control.
That's one thing I enjoy and find challenging. Though it's frustrating in doco's when a producer wants to use something not really intelligible with one listen.

At least in films the dia editor can make a huge difference cleaning up the crap and finding alt takes.

Good mics into a good Sound device field recorder also makes a big difference.
Old 28th December 2010
  #11
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minister's Avatar
Quote:
Originally Posted by mikevarela View Post
Also the Sennheiser 416 as boom and the Sennheiser G2 and G3 series lav's.
For studio productions and well-funded Indies, these are not the norm at all.

Most well equipped production crews use :

Shotgun: Senn MKH 60, Schoeps CMIT 5U, Sanken CS3, DPA 4017, or the Neumann. While it is less often used anymore, many guys carry a 416. Some people still use them, many don't.

Indoor is : Schoeps MK41, Senn MKH 50, or, depending, a shotgun.

Lavs : Sanken COS-11, DPA 4071, and to a lesser degree Countryman, Senn MKE2 and Tram.

Zaxcom & Lectro are the preferred wireless packages.

In micro budget Indy's, some of the above is used, and some are using the RODE, the 416.

In my tiny world, the Sennheiser wireless is rare, except for Corporate, some TV. Most TV I work on is Lectro (4 out of 5 crews) and only 1 Sennheiser wireless package. Out of over a dozen films in the last couple of years, only 1 used the Sennheiser wireless and only 1 used the 416.

As you can see there are some trends, but all kinds of things are used and I certainly didn't mention all that can be used well.

A lot of what you hear is the sound of the actor, location, skill of the boom-op, the skill of the production mixer, the skill of the DX editor and the skill of the Dialogue Re-recording mixer. (Some of what you hear is ADR, but the percentage varies from film to film.) Everything matters, but always take skill over equipment!!
Old 28th December 2010
  #12
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Bob Olhsson's Avatar
 

I think it's pretty safe to say that under ideal circumstances most of the top production mixers would use the Schoeps MK41 with all of the other mikes being chosen to solve a specific problem created by enviornmental noise and/or what the director wants to see in the shot.
Old 29th December 2010
  #13
Thumbs up

Quote:
Originally Posted by mikevarela View Post
Also remember that if you're in production, please please get some room tone and any extra hard Fx (specialty) you can!
+1, this kills me when I get a blank stare when I ask for tone.
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