[Peter Groom]

Id strongly suggest that you use the same mics as were used on the shoot. That way youll have eliminated a whole raft of adjustments in 1 go.
ALSO you need to set up a cueing system. Let the actor hear the part that pre ceeds and follows so they now tonally how it should be. Then set up a loop.
I use 3 short cue beeps and the position of the silent 4th beep is the start moment. that way its repeatable. Many prefer cue wipes but the gear for this is quite spcshilist (misspelled on purpose to not get caught by the profanity filter) and the 3 beeps work well for me.
Use enclosed headphones on the performer to elimiante audio bleed from the cue track.
Good luck
peter

Peter

[Peter Groom]

Have you looked at these
https://cpc.farnell.com/pulse/mic-2000×3/microphone-headset-3p-mini-xlr/dp/MP33905

I only have experience of them in a theatre setting, where they worked well. The great thing is the mic is really close to the mouth, but you could ger right eared and left eared ones to put the capsule on the non camera side.
Wind noise may still be an issue but it will be for ANY mini mic not in a mega windshield, no matter how costly.

Peter

Peter

[Peter Groom]

Where exactly in Europe are you.
Im in the UK and really dont feel like Im in Europe (although politically I probably am)

Peter

Peter

[Peter Groom]

I did a very similar thing to this about 6 months ago. It was a commercial, but involved 2 cars (1 a cab) driving round and 4 models im the cars looking pretty and capturing their comments.
I found that the cab was a real problem as the wind noise swirling round was mega. I recorded the 2 wired Sony ecm 77 s to a zoom H$N. the mics mounted at the closest possible point to their mouths, but still lavs want to be close and with a lot of noise about there were issues. The zoom can be powered from the cars 12v via a cable we bought.
If you get say a 32 gig sdhc card and run stereo recordings in mp3 (256kbps) you can run all day and night no problem.

Personlally Ive never seen a rally where they dont use helmets but hey!
My best advice is, as i did, test run and test and test to find the best position you can with the roof down. But its not easy or particularly good.
When we did a motorbike section, mounting the ecm77 inside the helmet was spot on with a rycote fluffy over it.

Peter

Peter

[Peter Groom]

Hi ben
Which is the Rode mic youre looking at?
Peter

NB Where in the UK are you

Peter

[Peter Groom]

Hi seeing as youre in the UK, brands already mentioned like countryman, and outlets like bhphoto arent players.
If you want a wired lav then something like a sony ecm 77 would fit the bill. Outlets like https://www.canford.co.uk audio would be best.
You could get a sony radio mic on ebay for around the same cost as a new sony lav wired, but bewrae that ebay UK is flooded with cheap radio mics at the moment with the impending UHF CH 69 switch to mobile phones, therefore a lot of these devices will be useless after the London Olympics 2012. Just be careful if you want to use in the UK.

Peter

Peter

[Peter Groom]

Hi Kevin.
Plenty of video folks here too. I can edit on AVID, FCP, Linear sony 9100, as well as audio stuff.
Peter

Peter

[Peter Groom]

Thats very kind Ty, but like everyone, were all constantly learning. If that stopped id go work in a bank.

I learn a lot too from contributors to this and other forums.
Peter

Peter

[Peter Groom]

Yes.

The dubbing mixer is really the final part in the audio chain in any TV / films audio process. Anything not dealt with up to here, becomes the problem for the dubbing mixer as next stop is transmission.
Strictly speaking, the DM only mixes the final mix, but in reality these days, (unless youre working on really big projects where there is a whole team of audio people carrying out speshilist (filter dodge) roles such as dial editing, tracklaying, ADR, foley, music, effects laying etc,) the job entails ALL or many of those roles Ive just mentioned mentioned. It depends on the project.
The project typically finishes picture cutting in post where it is “locked”. This rarely means exactly that these day, but it should. All too often the audio post process if forced to start before picture lock, meaning the audio timeline has to be tracked to new picture cuts. Software such as Virtual Katy is used to do this.

The dub is presented with the cut audio in the form of an AAF or OMF file. This may only contain guide or scratch track audio. in that case the audio files from the hard drive location recordings need to be spotted in as replacements to the scratch.
The music (often scored to picture) is layed, ambient and spot effects laid to texturise the audio track, Foley recorded and spotted where needed or to add to the texture, ADR recorded and spotted to remove poor portions of dialogue, or to add clarity to an unforseen problem in the storyline. Then once the entire timeline is trimmed, cleaned and organised (often becoming some many dozens or hundreds of tracks) the mix can begin. Often a dialogue premix is made to ensure the dialogue and ADR is 100% perfect. Then further passes to bring in the sound effects, foley, music, eq, effects such as verbs etc, and to pan the audio in the “image (often surround) to create a technically correct, creative and expansive mix and mix stems, to the correct delivery spec and level for the project.

Ofcourse not every DM does all this, or in this order, but it gives a general picture of the process.

I think of it like a chef. He doesnt make all the ingredients himself, but does adjust and blend the different proportions to make a cake that people want to eat.

Hope that explains
Peter

Peter

[Peter Groom]

Yes.

The dubbing mixer is really the final part in the audio chain in any TV / films audio process. Anything not dealt with up to here, becomes the problem for the dubbing mixer as next stop is transmission.
Strictly speaking, the DM only mixes the final mix, but in reality these days, (unless youre working on really big projects where there is a whole team of audio people carrying out specialist roles such as dial editing, tracklaying, ADR, foley, music, effects laying etc,) the job entails ALL or many of those roles Ive just mentioned mentioned. It depends on the project.
The project typically finishes picture cutting in post where it is “locked”. This rarely means exactly that these day, but it should. All too often the audio post process if forced to start before picture lock, meaning the audio timeline has to be tracked to new picture cuts. Software such as Virtual Katy is used to do this.

The dub is presented with the cut audio in the form of an AAF or OMF file. This may only contain guide or scratch track audio. in that case the audio files from the hard drive location recordings need to be spotted in as replacements to the scratch.
The music (often scored to picture) is layed, ambient and spot effects laid to texturise the audio track, Foley recorded and spotted where needed or to add to the texture, ADR recorded and spotted to remove poor portions of dialogue, or to add clarity to an unforseen problem in the storyline. Then once the entire timeline is trimmed, cleaned and organised (often becoming some many dozens or hundreds of tracks) the mix can begin. Often a dialogue premix is made to ensure the dialogue and ADR is 100% perfect. Then further passes to bring in the sound effects, foley, music, eq, effects such as verbs etc, and to pan the audio in the “image (often surround) to create a technically correct, creative and expansive mix and mix stems, to the correct delivery spec and level for the project.

Ofcourse not every DM does all this, or in this order, but it gives a general picture of the process.

I think of it like a chef. He doesnt make all the ingredients himself, but does adjust and blend the different proportions to make a cake that people want to eat.

Hope that explains
Peter

Peter