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Posted by Toby on 09/27/08 11:39
"Richard Crowley" <richard.7.crowley@intel.com> wrote in message
news:dsfumf$e8e$1@news01.intel.com...
> countrygent58 wrote ...
>> Shotgun mics i am thinking about are Sennheiser MKE 300-D,
>> Audio-Technica AT835b, Audio-Technica ATR55 (is this any
>> good for the price?), RODE VideoMic Directional Condenser mic.
>
> Even the professionals with unlimited budgets do not use shotgun
> mics indoors, especially in "tight spaces". Shotgun microphones
> depend on getting direct sound waves from all directions in order
> to sort out the directionality. Sound bouncing off walls (even if it
> sounds to your ears like "little reverberation") completely destroys
> the directional operation of long shotgun mics.
With due respect, I do this kind of thing every day shooting news and
feature stuff. We always use Sennheiser 416s, and we certainly never have
any trouble getting decent (if not perfect) sound in the described
situations using a boom pole.
>
> They prefer to use hyper-cardioid microphones indoors to avoid
> this probem. You might try asking your question in the newsgroup
> where these kinds of things are discussed everyday....
> news:rec.arts.movies.production.sound
>
> An inexpensive hyper-cardioid they mention is the Oktava 012
> with the hyper-cardioid capsule. There have been several discussions
> of this very question on that newsgroup in the last 6-12 months. Use
> groups.google.com to look back in the archives. Lots of good advice
> ready for reading.
>
>> Lapel mics, i need some advice on, looking for cheap ones, naturally.
>
> The ones used by the professionals are quite expensive. Partly because
> they are VERY small (and easy to hide on the actors).
You might not need them if you have a decent soundman. Once you have to wire
somebody you end up with all kinds of headaches if the mic needs to be
concealed--clothing noise, head movements causing variable sound levels,
etc. If the actors are not too far apart and the space is not to reverberant
or noisy I suggest you experiement with a single shotgun, or two shotguns,
before starting in with lavs.
>
>> Also the idea of outputting to a mixer to mix the sound between lapel
>> and shotgun mics is this a good idea? Too much noise?
There can be some issues with comb-filtering cancellation between two
sources at unequal distances. You really shouldn't need to do this in a
controlled environment in which you can be relatively close with pole mics.
>
> Not enough details. Depends on how quiet is is where you are shooting,
> how noisy your mics are, how noisy your camera is, etc. etc. etc.
>
> Certainly mixing multiple microphones in an external mixer and sending
> the mixed sound track to the camera is a well-accepted method of
> recording sound from multiple sources.
>
> OTOH, I would avoid any pre-mixing I could get away with. Mixing
> the sound in post-production (editing) is always better than doing it in
> real-time on location. If I had only one or two microphones, I would
> dedicate one sound track to each microphone and mix them in post.
Good advice, this!
Toby
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