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ENG Work


locationsoundvie

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Hi,

I am a beginner in film sound and have following question:

I'm just interested in how you handle eng work when there are more than 2 signals to record and the camera has just 2 inputs. My thought was to send the boom signal to input 1 and the rest (for instance 3 lavalier signals) to input 2 of the camera. At the same time I records iso tracks as a back up.

If you are sending the lav tracks alltogether to one input of the camera, isn't there a problem with the noise. All unused lav tracks would be recorded to or? Alternatively you can mix during the shoot...open the track of the lav the person is speaking to. But there is still the danger of missing a line and to open the track to late. Are you turining down the unused lav tracks completely?

Is it uncommon to use timecode sync when working ENG?

Best regards

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Hi, and welcome (where have you been since last November ?)

 

what John said, and note: the site search tends to be wonky, but you will get excellent results with Google, just put jwsoundgroup.net as your first search term, and try a variety of other terms to find threads you are interested in reading, and there will be plenty.

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"Is it uncommon to use timecode sync when working ENG?"

- A non-issue in a audio to camera only scenario.

 In the same scenario, it's common practice to monitor an audio 'return' directly off the camera..

When that's not possible, it's common to record back-up to a second system recorder... with or without TC..

Search this site for more info.

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Hi,

Thank your for the hints. Got loads of answers comparing the google search with the jw sound search mask. The only left question is: As I have read it is common to send the boom signal to input 1 via breakaway or wireless camera hop and the lavs to input 2 of the cam. The only thing that I didnt find an answer to is the noise issue. Isn't it a problem to leave all the lav signals open concerning the noise? In an unscripted situation it is nearly impossible to open and close the mixers channels fast enough, without risking to miss a line of a talent speaking.

Kind regards

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keep your eyes open and always try to anticipate who is going to speak next by reading both the conversation and body language.  If dealing with multiple lavs in an unscripted situation you might want to keep unused lav channels at say, 9 or 10 o clock so that their contribution to the noise floor is acceptable and its less noticable when you hike up their levels right on the start of a sentence.  This will also lessen any nasty phasing that would otherwise occur with all three lavs at the same level.

Alternatively you might want to plant a mic (cos 11's are good) if you have time and know the rough blocking.
 

Another option is to keep it simple and boom the whole thing, anticipating who will speak as best you can.  Choosing a mic with a wider pickup pattern and good reach helps here if the shots are tight enough. 

Over time you'll learn to make judgement calls and adopt your own style - this is the challenge of ENG work - it's also a skillset that your clients will expect you to have.

Evaluate each situation (on the fly if need be), choose the strategy you think is best and implement it with confidence.


Just my 2 pence!
 

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" In an unscripted situation it is nearly impossible to open and close the mixers channels fast enough, "

actually mixing multiple lav's while booming is mostly a fantasy...

an automixer is an excellent tool

" a skill, gained mostly through experience.. "

it takes years of experience to gain years of experience.

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  • 3 weeks later...

Boom to left and lavs to right is common practice. Try mixing as best as u can your lavs to the right channel or use an automixer like senator said (sound devices 788t and eventually zaxcom nomad have it). It is wise to record a pre-fade iso of all the lavs on seperate tracks and jam sync the camera timecode to you if possible. Most importantly charge accordingly for your services and rentals ( allign your prices with other mixers of your area ).

Good luck!

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