[David C jones]

Hi Tim,

If you can do what you’re suggesting, then that should certainly help. What type of lavs are you using? Even though you’re not using a PA system, you should be using a lav with a cardioid pattern.

Best,

Dave J

[David C jones]

Here are a couple of places to check on used gear:
https://www.trewaudio.com/consignment/
https://www.locationsound.com/used-gear-c-90.html

You can sometimes find good deals on ebay as well.

Best,

Dave J

[David C jones]

I fully agree with Ty.

If your audio sounds amateurish, so will the content. If you have good content, it needs to be presented professionally.

One suggestion is to go with used gear. I do it all the time. A good used mic/mixer/etc. is better than a mediocre new one.

Best,

Dave J

[David C jones]

I try and shoot most talking head interviews at 2.8. If you go below that, you’ll have most of the frame in focus. I did just finish a documentary where all the interviews were lit for 4.0 (this is what Ken Burns lights his interviews at). If you go wide open, using any kind of telephoto, you risk having nothing in focus.

Dave J

[David C jones]

I agree with Mike. You can’t go wrong with a Sony EX-1 or 3. And, you want to get a good tripod. As far as lav mics, I would go with ether a Countryman B6, or a Sanken COS-11x. Sonotrims are good, too.

Best,

Dave J

[David C jones]

To answer your question: yes, you can plug your mics into a good 8-track recorder. BUT, you still won’t have as much control over the signal as you would with a mixer.

Good mixers have MORE and better control over adjusting the level. They have a trim AND a fader control; recorders and cameras do not (if they do, it’s usually menu driven). This can make a big difference with certain mics. Even Sound Devices, which makes maybe the best 8-track recorder, also makes two different kinds of mixers to go along with the recorder.

Don’t think that just setting the levels and leaving it will get you good audio. It takes constant adjusting and tweaking of the faders to achieve good results.

Best,

Dave J

[David C jones]

The least expensive wireless that will also be reliable, is the Sennheiser G3 series. But, one system retails at $500. Personally, I wouldn’t go any cheaper if you don’t want problems in the field.

Best,

Dave J

[David C jones]

Perhaps the “mute” function is engaged. Or something on the camera was accidentally switched.

Dave J

[David C jones]

Hi Alejandro,

When recording room tone, you want to have the mic where it was when recording dialog so you get the same sound as when the actors were speaking. This should really be done at every setup or shot. If the actors were moving or maybe you have to do a lot of cueing during the scene, then record the room tone with the mic in the position where the background noise (or room noise) is at it’s loudest.

Room tone refers to the way a room sounds without anyone speaking; ambience is really the sounds you would expect to hear in a given scene. I think of it as more what’s added in post-sound editing but, it can be recorded at the time of shooting.

Best,

Dave J

[David C jones]

Hi Ben,

Yeah, what you need is a long shotgun mic with a narrow pick-up pattern, like the Sennheiser MKH 70; not available for under 1k. Might find one used but, again, probably not for less than a thousand.

That said, no mic is going to cut out 100% of background noise, esp. traffic, planes, etc.

Dave J