right mic for the job

[Alan Lloyd]

While I’m not familiar with your editing software (haven’t got the Vegas idea – where’s my rimshot?) Vegas is the video cousin of Sonic Foundry, and ought to have good EQ capabilities in its audio section. Boosting lows and getting rid of hiss are fairly basic operations.

I know someone who works for Sonic Foundry, so if you really get stuck maybe I can ask him a question or two, though I’d think EQ-ing a voice track is pretty basic stuff.

And frankly, your boss is being rather silly – there are boompoles alone that cost over $300. Renting for a one-time thing makes far, far more sense than buying something that isn’t even really designed to do what he’s asking you to do.

[Heather Walters]

Thank you, I had heard that Sony Vegas was fairly capable for NLEs with its audio (just don’t really know how to use anything other than basic EQ sliders on it). In defense of my boss, I think he wants eventually for us to really build our own studio in the future, a bit at a time, with me being the one in charge of all the studio work. I am just beginning to get a handle on the video side of it. I think he knows that we would really have a long way to go, both with me learning the audio skills, and audio equipment that we would add down the line. I’m pretty sure he doesn’t know any more than me about audio at this point, but I believe he is just trying to get the check writer to approve as much equipment as he can for us so that we do everything “in-house” as opposed to renting and hiring outside help (which is the unofficial policy of our parent company).

[Bill Davis]

Not that it will make any difference…

But you might try to help you boss understand all of this by telling him that buying a scalpel does NOT make someone a surgeon. And he would NEVER ALLOW someone to cut on him that didn’t understand that basic concept that tools are tools – but what produces good surgical results are PEOPLE (doctors) with the training and experience to know how to use the tools to drive results.

Clearly, no one in your organization actually understands how to use these tools – clearly demonstrated by his quite ignorant comment about lavs verses boom mics. So any money you spend on equipment is a crapshoot.

Listen, nod and learn. But also prepare yourself to move on. This boss is NOT going to help you learn how to practice your craft intelligently – simply because he obviously has little practical experience in this stuff himself.

Good luck.

[Rob Neidig]

Heather,

I feel for you. You are in a tough situation. Here is one final? attempt to provide some info for your boss.

This is a list of the gear that a “typical” pro sound person would bring to the gig. I’ve used industry standard brands here, though there are others in use. The prices, which are off the top of my head but should be pretty close, would be similar.

Sound Devices 442 mixer with case, cables ,etc. $3000
Sennheiser MKH416P48 short shotgun $1200
Schoeps CMC-641 hypercardioid mic $2000
Lectrosonics wireless lavalier mic systems (2 of them @ $2500 each) $5000
K-tek boom pole with shock mount, pistol grip, etc. $700
Sony MDR-7506 headphones $100

We’re already at $12,000 worth of gear, and that does not even include things like sound blankets, stands, specialty mounts, handheld mics, additional cables, battery distribution systems to run the whole shooting match, etc.

Not to mention years of experience in how to use it properly to get professional sound.

So if your boss would like to set up your office with sound gear, he can go spend $12,000 to $15,000. Or he could hire a sound pro for the day of the shoot.

Just saying…

Rob

Rob Neidig
R&R Media Productions
Eugene, Oregon

[Steve Kownacki]

[Heather Walters] “My boss just informed me that lavalier mics suck and I am required to use a boom mic.”

Sorry for joining the party so late, but I’d ask why he thinks they suck. Maybe it’s because he simply doesn’t want to see a mic. There are plenty of tricks that soundpeople use to hide lav mics and still get great sound.

I’m on the bandwagon for renting mics in your situation.

Steve

Steve

[Bob Cole]

[Heather Walters] “The actress will speak in front of a greenscreen, so no worries about scenery at all.”

I know this isn’t the appropriate forum for this, but if you haven’t done much greenscreen work, that will be another issue. You may want to search some other forums about how to execute a chroma key shot.

You’re not alone by any means. As video cameras and editing systems have come down in price, lots of companies have started “in-sourcing” their production work. Your EX3 camera is a magnificent machine for creating images, and nobody will be able to tell what computer/software you’re using to edit. But audio tools are a whole different story. Your boss may not notice any inadequacies; you may be lucky in terms of the audio environment; and a cheap mic, direct into the camera, may work.

But if success is absolutely critical, hiring a sound recordist is an extremely business-like and rational thing to do — CERTAINLY the first time. Rarely do sound recordists use all $12000-up in their kit on a shoot – but you’ll be able to observe WHICH tools are appropriate for your “studio” and your blocking, THEN buy more appropriately. The most essential tool in the whole kit may turn out to be the sound blankets, and they’re cheap. The knowledge you and your company will gain: priceless.

In a few months, maybe you’ll get sick of this company, become a freelancer like many of us, and start wondering why so many companies are in-sourcing their video/audio work.

Please let us know how it turns out. Good luck.

Bob C