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I have run into a sound problem?
Hello, Creative Audio Pros.
I have been asked to do a corporate video for a company in London, I went down to see if I could hook into the existing speaker system but not sure if I can?
I have included a diagram of the room and the media podium (bottom left) which I am sure is for operating the video screen for presentations I tried to photograph the back of this as best as I could as on the top there was nothing to hook into or any sign of a microphone.I spoke to a lady that said the previous guy used wireless mics (Which would mean 4 sets plus audio capturing devices for all 4 channels.)
the runtime is estimated for about an hour, I am planning to use 2 cameras (See diagram) could a fitted boom work as an hour is a long time for a boom operator to hold this 😛 (how would I do this)
if I hire a sound engineer with 4 x sets of wireless mics for the capturing of the sound this will eat most of my budget.
Do I go back to the client and ask for more money or work out a more cost-effective way of capturing the sound.
I was hoping to capture the sound into the C300 (mk1)
Any ideas?
ps I included some pictures of the rooms layout & the back of the media podium although nothing except the audio out and the connector marked “Speakon NL-4X” look promising.
Thanks
Hugh
pictures
“There are those who may,
And those who will,
Or so they say.
Lastly there are those special few,
Who say nothing –
But in their actions DO! (HH) -
6 Replies
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Is this a live event in front of an audience?
Or is this just a video shoot? “Live-to-tape”? Or a production? Scripted? Ad-hoc?
Is the venue providing sound reinforcement? Microphones?
If there will be an audience, will you be expected to capture reaction, questions, etc.?The “previous guy” was shooting the same kind of event as you are asking about here?
What is the video for? Is it a corporate image piece to impress clients?
Is it an internal training video? Is it just a “record” of a meeting?
What kind of audio quality are they expecting? High-end broadcast quality?
News/event style? “Transcription-grade” just good enough to transcribe the dialog?There are a great many questions here.
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Recording audio without metering and monitoring is exactly like framing and focusing without looking at the viewfinder. -
Hello Richard,
Thank you for taking the time to answer my query, I really appreciate this, I have tried to answer all the questions you have asked me as best as I could if you need any more information please ask.
I have been asked to video a corporate panel debate set up in a presentation style which I believe means a panel consisting of 4 speakers facing an audience. The gig is for 2 hrs & 30 minutes coverage which include B-roll of the social gathering before the panel presentation. I I am to operate two cameras as well as monitor the sound for all for speakers and quite probably the audience too.
No mics, no sound reinforcement, I can’t even patch into the existing AV.
It will be primarily for their website and for in-house reference but can also be for the purpose of informing/entertaining their clients.
They want the best sound quality they can get although don’t understand for this they should make a budget for a dedicated sound engineer. They have asked me to cover this for £250, I told them I wanted another £150 to bring in someone to cover all the audio (someone professionally qualified with years of experience) which they think is too expensive.
Yes, this should be in front of an audience.
The only good news is that it’s a continuous shoot, which they will break up into a 90-second highlight promo.
Hope this helps.
Hugh
PS I’m told that the last person who covered video for them used to clip on wireless mics.
“There are those who may,
And those who will,
Or so they say.
Lastly there are those special few,
Who say nothing –
But in their actions DO! (HH) -
You really need a microphone on each person. Either a clip-on lav, or something on the table. At the extreme minimum, two microphones, one between each two people. And that is already a significant compromise. The client will get what they are willing to pay for. No way around that.
Since you are shooting with two cameras, you could connect each microphone to one of the four available channels (two on each camera). That assumes that you have the time/budget to do the audio mixing during post-production editing? Since you are shooting two cameras we assume that you at least have to cut the cameras angles together, as well as the B-roll, etc. You could use an automatic mixer to select the person(s) who are speaking, but that is another expense of either renting the specialty gear or hiring someone to do the audio mix for you.
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Recording audio without metering and monitoring is exactly like framing and focusing without looking at the viewfinder. -
Good plan, Richard!
(as always)
Regards,
Ty Ford
Cow Audio Forum LeaderWant better production audio?: Ty Ford\’s Audio Bootcamp Field Guide
Ty Ford Blog: Ty Ford\’s Blog -
Thank you, you have been a great help, Richard.
Yes that’s the way I’ll go by clipping on a mic for each speaker and maybe the use of a boom for any question and answers (if needed.)
Best regards
Hugh
“There are those who may,
And those who will,
Or so they say.
Lastly there are those special few,
Who say nothing –
But in their actions DO! (HH) -
Hi
Richards advice is, as usual, great. You wont get a London sound eng for that budget especially carrying 4 radio channels.Id add that, if you feel that your clients expectations and requirements are above what you can deliver, either ability wise or budget wise, you should always be willing to WALK AWAY. If you go ahead, fail to deliver then they will more than likely be un sympathetic.
Def lav mic on every person. You can hire wireless mics in London very easily and they can be plugged directly to your 4 camera inputs available but
1) youll not be able to monitor all channels so bear a risk
2) have a large job in post edit to sort out the audio and close the non used mic channels or live with horrible colouration.
3) accept that the 2 camera audio file will NOT sync up exactly in your edit timeline as the exact moment will vary when you press record on both cameras, so the exact frame start will vary up to 1 frame causing a metallic feel with more mics left open than the one being spoken into.Id consider WIRED lav mics if people can cope with movement being restricted. ECM77b s in London are about £15 per day!
Peter
Post Production Dubbing Mixer
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