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Having trouble using blankets for audio.
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Okay thanks. I can get a tight pattern, just not in the master shots I feel. But how tight are we talking here?
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I can try masking the boom out, it’s just in the past when I have attempted this, you can always tell it’s mask. Something in the lighting patterns doesn’t match always, whenever I’ve tried this.
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But when it comes to masking, where do I get the footage from to mask it out since when the camera moves with the actors, it will move slightly different each time, and not match exactly. How do they do it on House of Cards when the camera moves, and capture the exact same movement?
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[ryan elder] “And yes I am also the boom operator as well as the director.
When I say that the reverb is worse in the wider shots, what I mean is, is that in the wider shots, the boom mic is further away cause there is more head room in wider shots, compared to close ups.”
Yep. That’s what I mean by the mic being out of position. In a wide shot with lots of visual headroom in the frame, booming becomes untenable because it forces the mic too far away from talent’s mouth. Unless you’re willing to do what Ty suggests and rotoscope the boom (and the boom op if needed) out of the scene in post. ????
Else, you’re left with lavs (and really, use only omni lavs — unless you’re really going to work with and train your talent how to use them, directional lavs will make audible every head turn and chin tilt, and thus have the potential to put you through “post hell”). If even lavs fail you, then it’s ADR time. I’ve read that ADR is not so bad with the latest release of DaVinci Resolve. The Fairlight Audio suite seems to be sufficiently evolved to be on par with most other DAWs, it’s fully integrated with Resolve now, and it’s got a reasonable set of ADR tools. So they say — I don’t have a computer with enough CPU/GPU to run Resolve 15 yet so I lack hands-on experience with Resolve 15. But the price is hard to beat — free.
But really, lavs and some work with a parametric equalizer in post (to better match boom mic footage from other scenes) have worked reasonably well well for me in the past; it might work reasonably well for you too. Because — signal-to-noise ratio. A lav right square on the sternum is usually pretty good at getting an optimal signal-to-noise ratio capture. But you have to mount it well to avoid clothing rustle and microphonics from rubbing on the mic cable.
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yes, you probably can’t change the lighting from that of the master shot.
Regards,
Ty Ford
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Sorry, I don’t know how HoC does that with tracking shots.
Regards,
Ty Ford
Cow Audio Forum LeaderWant better production audio?: Ty Ford\’s Audio Bootcamp Field Guide
Ty Ford Blog: Ty Ford\’s Blog -
Okay thanks. Maybe I can re-storyboard it so there is little tracking, it’s just the character is suppose to be furious in this scene, and when someone is furious, they usually pace and move around a lot rather than being still. So it might look weird if he was furious and still but I can ask other opinions.
I was able to get two C-stands. I can put my bed blanket as well as some other blankets on them if that will help. That still leaves 3 sides of the room uncovered, but I need those 3 sides for different shots anyway though. Do you think it would help much?
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I also have a mic stand too, I forgot about.
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