[Terry Nutkins]

Thanks very much for the advice everyone!

[Terry Nutkins]

Thanks very much for the info. We’re using a large sensor camera FYI.

Does this scene (with the cop at 9m) look like it was shot with a wide-angle? Or maybe its just a small-sensor camera? We’ve been in some similar situations (although most much more cramped) and trying to perform focus pulls for objects at different distances has proven difficult.
https://www.youtube.com/watch?v=_BqFkRwdFZ0#t=539

[Terry Nutkins]

Thanks very much for the info.

Here is the car-mount shot FYI (there is also I think a problem with motion blur due to the shutter speed which again I’m not sure if it can be rectified): https://vimeo.com/95682583

Do you think it would be easy to to reduce this to around 50% speed seamlessly (and possibly get rid of some of the motion blur)?

[Terry Nutkins]

Thanks very much for the info. I do actually have some 48fps footage so I’m guessing that would fare better?

Any video links to the most convincing examples of the process in effect would be very gratefully received (that is a sort of 120fps effect and not bullet-time).

I also have some car-mount shots which I need simply to slow down about 50% – can AE do this seamlessly?

Thanks!

[Terry Nutkins]

Hi Stephen – thanks very much for the info.

Unfortunately we are only a crew of two (Director/Sound Recordist and DP) so operating the mic during filming in this instance would not be ideal. I could have the DP operate it but he has no experience and it may be risky. Might using two mics be the best solution or could this cause problems?

FYI we are using a Sennheiser MKH50 (rental).

[Terry Nutkins]

Thanks Bill.

I have to say that we did attempt to use the same positioning technique for all 17 interviews and this is the only audio that sounds noticeably different. He was moving around quite a bit but the mic appeared to be on-axis, as close as possible and aimed at the chest.

Do you think its primarily the room or the mic positioning or is it difficult to tell? All of the other spaces had carpet/furniture/curtains around to absorb reflections but this room was almost bare.

Is there really nothing that can be done at all to rectify it?

[Terry Nutkins]

Thanks for the info guys…

If you could offer any tips on overhead positioning, angle and proximity I’d greatly appreciate it

[Terry Nutkins]

Thanks very much for the input guys. The project is a documentary feature – largely talking heads interviews.

Do you plan to use a mixer between the mic & the recorder? You’ll need 48v phantom to power the MKH 50.
Am ideally looking for a recorder with phantom power to avoid the need for a mixer

How many tracks will you need on the recorder?
1-4

Are you ONLY using one mic for ALL your shooting?
I chose the MKH 50 as an all-rounder mic (considering its a talking heads doc I thought this may be sufficient), though may purchase a dedicated “outdoors” mic if the budget permits.

Are you using any radio mics that also need to be recorded?
No

Are you doing it yourself or do you have a boom op?
Its primarily static talking heads, though I have a production assistant for the few scenes which will inevitably require a boom

How many $$$$ have you got to spend?
I wouldn’t want to sacrifice quality for price, so I’m very interested to hear what models I should be considering for now.

thanks again and look forward to hearing your responses!

[Terry Nutkins]

Hi John – I’m still in the composoition window. thanks…

[Terry Nutkins]

many thanks