Peter Perry
Forum Replies Created
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I would get a master timcode generator, and sync all the cameras and the audio recording to the master. Yes, I would record all my audio tracks into a multitrack recording device, one that can accept timecode. Yes, it will be a pain to route all the audio and TC, but it will be worth it. You can hang mics, but don’t expect miracles. A second boom would be better.
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Rycote makes a sticky thing of cloth; you stick the mic to it and cover it with another sticky cloth, then stick both to the fabric. Works okay most of the time. You can also make those little paper footballs like we did when we were kids, only make them out of gaffers tape, sticky side out. Put the mic head in between two of them so that the head is not covered but is prtected.
There are also some outfits that simply will not work, period.
Peter -
The mic and the IFB do not need to be wireless, this can be done with less expensive wired gear. You should also have a telephone hybrid, like a Gentner.
Peter -
I disagree on the “more for looks than for sound”. It is done a lot when a talent tends to frequently pop a mic. In NYC, where I work, it is never done for looks.
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Check out the Digidesign Mbox2. It gives you 2 inputs. And you get Protools LE with it.
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It seems odd to me that there isn’t someone higher up the food chain that you could appeal to. I know that union SM’s have a lot of power, but this person has to answer to somebody, and if the orchestra really wants this project done, then some allowance has to be made for technical needs to be met.
Whoever is paying you for this project needs to know that the audio portion of this production is going to be compromised if you aren’t allowed to have your mics placed where you need them. Orchestral organizations usually are very sensitive to audio requirements. That is why this situation doesn’t make any kind of sense to me.
The SM doesn’t have a problem with 3 cameras in the house but he does with a mic array? Doesn’t make much sense, does it?
Is it possible that this SM is looking for his palm to be greased? If this was in NYC, then that could definitely be the case. Try slipping him a $50 bill and see if his objections disappear.
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Hi Mark,
On one hand, I don’t think that the stage manager is being unreasonable at all. Any time we shoot an event that also includes paying customers, we have to balance our technical needs with the customers expectations of having a pleasing aesthetic experience.
Having said that, though, as long as your rig isn’t directly in someones line of sight, it seems like the SM could be a little flexible.
Who booked you for this event? Can you schedule a meeting with whoever it is that booked you and the SM? Bring your rig, explain where you want to put it and why, and then leave it in their hands. This way you know what to expect when you walk in, and you won’t have to deal with Mr. SM. If you can’t come to an agreement in the meeting, you can decide then whether you want to do the shoot or not. If the powers that be know that you won’t do the shoot if you can’t get your technical needs met, they may be able to pressure the SM into giving you some leeway.
I don’t think I would just show up, and if you don’t get your way threaten to go home. That smacks of unprofessionalism to me.
Peter -
Hi Alan,
It seems like you really want to try the RF route….against all of the pros advice not to….so here is my 2 cents.
a. Make sure you are allowed to use RF where you plan to shoot. I have spent a lot of time in doctors offices/waiting rooms/clinics lately. None allow cell phones to be used. If you can’t use a cell phone, then you can’t use RF.
b. Do not trust the ENTIRE AUDIO portion of your production to a $600 RF setup. RF mics have come a long way in the last few years, but, as John has said, you could be shooting in a very challenging RF environment. You better get the top of the line Sennheiser or Lectrosonics units, with full diversity and all the other bells and whistles, or you may as well just shoot yourself in the head now and get it over with.
c. Hire an experienced audio person to come in and set this up for you before you shoot with it. You said that you don’t have any experience with pro audio. You will have possibly 6 gain stages in an mixer/RF/camera setup. If you don’t know how to balance all the ins and outs of all this equipemnt, it will be a nightmare.
d. Be prepared to go wired at all times. Even with the best equipment, set up by the best tech, there WILL, no doubt about it, be times when you can’t get this setup to work, or be allowed to use it. Be a Boy Scout.
Those are my 2 cents. What city are you in? I’ll be scanning the local papers for news of a local video production team shooting themselves in the head out of frustration.
Peter -
But don’t you just love the way they remove ALL background noise with a few keyboard strokes, using software that looks suspiciously like a histogram of a photo in Photoshop!!
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You need two complete systems, 2 transmitters and 2 receivers.