[Bob Kessler]

Are you sure that the external phantom power is OFF when using the internal phantom power?

Peace,

Bob
____________________________________________________________________
Filmmaking is the art of the invisible;
If anyone notices your work you haven’t done your job right.

[Bob Kessler]

What do you mean by “noise reducing”? Do you mean headphones that actually are noise canceling, or are you looking for headphones that are very isolated?

There are a number of headphones that are built into ear protectors like those used by airport workers and on weapons ranges, but they are on the pricey side.

If you don’t like the Sone MDR-7506 you may want to check out the Sennheiser HD 380s; about US$130.

Peace,

Bob
____________________________________________________________________
Filmmaking is the art of the invisible;
If anyone notices your work you haven’t done your job right.

[Bob Kessler]

If you are familiar with the Adobe workflow Audition will probably do okay for you. However, Pro Tools is the de facto standard for audio post work (probably more than you want to spend). The big issue is, really, the compatibility of many standard audio post plug-ins with Audition. I have no experience with Audition, so I don’t really know. I’m sure someone here https://forums.creativecow.net/adobeaudition can answer that question for you.

The type of room treatment (not “dampeners”) that you need will be very dependent upon your room; it may only cost you a couple of hundred, but may cost a couple of thousand or more – there’s just no way for us to know since we haven’t seen/heard the room. You can start here:

https://www.soundonsound.com/sos/dec09/articles/beginnersacoustics.htm

Your speakers are also going to make a huge difference, so plan on some really nice speakers if you are going to dive into this seriously, and plan on spending A LOT if you are planning on doing surround.

Oh, you should probably consider a solid audio interface as well. If you’re going to get into this you may as well do it right.

Peace,

Bob
____________________________________________________________________
Filmmaking is the art of the invisible;
If anyone notices your work you haven’t done your job right.

[Bob Kessler]

I’m assuming that this is narrative work, since you know in advance what the person will be doing. Why does s/he have to bend over while delivering the line?

BTW, I don’t consider someone who is standing then bends over to the floor a “slight” movement.

Peace,

Bob
____________________________________________________________________
Filmmaking is the art of the invisible;
If anyone notices your work you haven’t done your job right.

[Bob Kessler]

Okay, Foley is always performed live to picture, so all Foley is created specifically for each film. If you are getting footsteps, etc. from a sound library you are cutting sound effects. A technical difference, I admit, but one you should be aware of.

My niche as an audio post facility is low/no/mini/micro budget projects. I create as many custom sounds as I can within the budget and deadline/schedule. However, custom recording of many sounds is way beyond the budget of my clients, so I must rely upon libraries for a lot of things like weapons, vehicles and the like. I do all of my own Foley, but when it comes to sound effects I definitely use a fair amount of library material layered with sounds that I record myself.

To create your own sound effects and Foley you need a fairly quiet room plus a decent mic or two and a a solid mic preamp.

Peace,

Bob
____________________________________________________________________
Filmmaking is the art of the invisible;
If anyone notices your work you haven’t done your job right.

[Bob Kessler]

Ari – Is your “one track” a stereo track or a single mono track?

Peace,

Bob
____________________________________________________________________
Filmmaking is the art of the invisible;
If anyone notices your work you haven’t done your job right.

[Bob Kessler]

The NTG-2 and AT897 have the same low volume issues when matched with low-budget recorders like the H4n or DR-100.

On top of that, you are not going to get a boom-pole, shock-mount, wind protection, etc. with only a $300 budget (unless you DIY those items).

You haven’t let us know what audio recorder you will be using, but since you were asking about the NTG-2 and AT897 I’ll assume that you want to plug directly into the camera..

Since you’re in high school and more of a hobbyist at this point I would recommend the Rode VideoMic. You can get the mic, a short boom-pole, 10′ cable and a wind-buster (the shock-mount is built-in) for under $200 at places like B&H. That may be the place to start, for you.

Peace,

Bob
____________________________________________________________________
Filmmaking is the art of the invisible;
If anyone notices your work you haven’t done your job right.

[Bob Kessler]

If you are willing to spend almost $1,500 on the Sanken, yet are considering the NTG-3, why not get the NTG-3 ($700) and for your hyper either the Audix SCX-1 ($500) or the Audio-Technica AT4053b ($600)? Either way you are still under the price of the CS3, and would have one mic for indoors and one mic for outdoors. In fact, you would have enough left over to add a lav to your kit.

BTW, quality lavs don’t sound “chesty” when placed properly, and, even if you don’t like the sound, can be sculpted with EQ in audio post.

Are you a “one-man-band” or will you have someone to assist you with the audio?

Peace,

Bob
____________________________________________________________________
Filmmaking is the art of the invisible;
If anyone notices your work you haven’t done your job right.

[Bob Kessler]

It all comes down to the skills of the boom-op. Unless the scene is being shot in an extremely tight space using a hypercardioid indoors is recommended for those who are less than professionally skilled. The reason is that inexperienced boom-ops don’t have the skills to avoid the excessive roominess of the production sound so prevalent in indie project when a shotgun mic is used. Using a hypercardioid mitigates, but does not eliminate, that roomy sound. Again, how much the roominess is mitigated by using a hypercardioid depends upon the skills of the boom-op.

Peace,

Bob
____________________________________________________________________
Filmmaking is the art of the invisible;
If anyone notices your work you haven’t done your job right.

[Bob Kessler]

I hate being obvious, but did you put batteries in the SD 302? Is the mic cable good? Is the mic cable plugged into the mic and the 302 all the way? Are your headphones working?

Go through the complete troubleshoot checklist. 98% of the time the issue is human error – I’ve been guilty myself more times than I care to admit.

Peace,

Bob
____________________________________________________________________
Filmmaking is the art of the invisible;
If anyone notices your work you haven’t done your job right.