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2 mono overhead mics


Bill Kerrigan

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There would just be 2 overheads...

The idea is to eleminate the lav, which in my expense is mostly used as a safety track.

As mentioned by others, one of the reasons for the lav (besides the main reason which could be that the client requests it) is to provide the possibility of greater consistency and continuity across several interviews, different locations and possibly different sound crews and/or equipment. There will be less variation, generally, with a lav track than an open mic, even if the sound may not be as "good" as the open mic.

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Bill, if you want the main interview mic to be as tight as possible, then a second mic for the lean ins might be just what you need. I personally am happy with the sound I have been able to get by adding a few extra inches, moving the mic forward, and angling it. To my ears the difference compared to directly overhead is minimal if noticeable at all.

At the end of the day, it doesn't matter how you get the sound, it only matters how it sounds.

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one of the reasons for the lav (besides the main reason which could be that the client requests it) is to provide the possibility of greater consistency and continuity across several interviews, different locations and possibly different sound crews and/or equipment. There will be less variation, generally, with a lav track than an open mic, even if the sound may not be as "good" as the open mic.

Yes, these are good points for some shoots, which I hadn't considered.

Thanks...

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I've used 2 overhead boom mics for just this situation. The mics should match, same make and model. They should be recorded on separate tracks and noted on the sound report. I put the mics on separate booms/stands for ease of adjustment.

Depending on the lighting, when the subject leans forward a shadow may cross his face from passing under the first boom. So you have to check for this. It's all an extra measure of hassle, and usually not needed so I've kind of given up doing the 2 boom thing. Now I park the mic a little bit forward in the case of a leaner. And I'm always using a lav as well as the boom and that helps for the lean in too, though obviously it doesn't match the boom. Boom operating is the best solution, if you can do it for the length of an interview without making noise or distracting the interviewee. But for an hour long interview... that's unlikely. The 2 boom approach shines when doing a two person interview, one boom mic for each person. In the case of a married couple, for instance, there's often some interruptive banter coming from one of them, and it's nice to get that clean.

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"Because some interviewees tend to move forward and back, I’ve been experimenting for the last 6 months placing 2 overhead mics with different patterns on the boom, then letting the editor choose the track they prefer."

 

I've had people move around enough to get out of pattern a couple of times over the years. Since these have been interviews and not narrative work, I just stop them when they do it, remind them of the mic, and start that part over. If they just can't be tamed, I use the lav feed instead of the boom.

 

I had thought about the twin boom setup you suggest, but the lav backup works just fine for me, and the extra c-stand and boom is a PITA to carry to and set up on location.

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I notice people are assuming a 2 stand set up for 2 mics.

I would go with 2 small magic arms on a single boom arm of a c-Stand.

 

As a side note - for light mics I'm thinking to repurpose something like this

(skip to (0:34)

 

The gooseneck isn't very versatile but I'm sure a better option can be found/made.

 

Would make for super quick rigging and adjustment

 

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I notice people are assuming a 2 stand set up for 2 mics.

I would go with 2 small magic arms on a single boom arm of a c-Stand.

 

Thanks for the suggestions Benny.

 
I've been using just one stand, a boom buddy and a short van den Bergh boom pole.
 
I’m also playing with extremly lightweight bits and pieces of camera and grip parts, which I’ve collected over the years. 
I’ll post a photo of my two mic mount, when I feel the system is working. 
 
Cheers, Bill
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Here is just one of many situations, where I'd like to use two overheads...

 
When shooting an EPK or "the making of" on a feature film: 
- producers sometimes asked me, to just use an overhead. 
- the actors are often pulled off set and don't have time to have a lav hidden in their wardrobe.
- sometimes they are wearing a hidden lav, and the sound department doesn’t want me touching their clothes.
- actors often hate the process of promoting films and don't want to be touched.
- etc
 
I often wait on set for hours to get the interview... and then it's a GO!
The entourage arrives... and it's hurry, hurry, hurry, with no time for adjustments. 
I think it makes sense to have that 2nd mic...
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A good lav properly placed is for me the quickest and best solution.

 

Great for very low level subjects and once fitted to not intimidate the interviewee.

 

Being probably closer the subject, background and acoustics tend to be less than an overhead

achieves and hence the recorded voice is more viable for V/O use over other footage.

 

mike

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Great for very low level subjects and once fitted to not intimidate the interviewee.

 

Being probably closer the subject, background and acoustics tend to be less than an overhead

achieves and hence the recorded voice is more viable for V/O use over other footage.

 

mike

Thanks for your post Mike, these are points I hadn't considered.

 

I'm shooting a historial doc next year, some of interviewees may have painful memories.

I'll use my Sanken COS-11 on this production.

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Bill, if you want to experiment  with two mics, forget about putting two overhead - the difference in pattern won't be that useful or discernible. Instead, put the second mic on a low stand beneath your bottom of frame pointing up. Then when they lean over, they will still be speaking into the lower mic. Sorted.

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This is likely a bit off, but Fury has done some leisure reading, as regards, boundary mics and techniques.  For interview type work, would say, a Lehman L2, suspended on a C stand or a PZM  pyramid be superior to the lav/boom concept above, assuming same qualified operator and suitable kit?

 

Thank you very much

 

Fury

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As someone who has worked extensively as a sound designer, I prefer a mix of both the lav and an overhead.  I usually start with setting a level for the lav because it is stronger in the low frequencies and has the richness I need. This is a base to build off.  Of course it is usually slightly muffled because of overlaying fabric and so I'll add in the overhead which is better in the high frequencies.  The boom also gives me more of the reflections of the room so I can add the amount of "space" I want the subject to have.  Many times I will manually correct for phase alignment issues between the two mics so that I am not canceling out any frequencies when I mix the two. I'm happy to have more mics to choose from if their are problems, but this can also just be a distraction.  One good lav and a boom should be enough.          

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The phase alignment does move as actors move around, but I find that when I start a new scene if I nudge clips until I get the most full sound, it is a good starting point.  As I mix, if I hear a problem I will move specific lines or even individual words, but that is fairly uncommon and I wouldn't think that would be an issue at all in the interview type set ups that Bill is talking about.  

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The phase alignment does move as actors move around, but I find that when I start a new scene if I nudge clips until I get the most full sound, it is a good starting point. As I mix, if I hear a problem I will move specific lines or even individual words, but that is fairly uncommon and I wouldn't think that would be an issue at all in the interview type set ups that Bill is talking about.

What's your technique for tweaking phase in post?

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Bill, if you want to experiment  with two mics, forget about putting two overhead - the difference in pattern won't be that useful or discernible. Instead, put the second mic on a low stand beneath your bottom of frame pointing up. Then when they lean over, they will still be speaking into the lower mic. Sorted.

Thank you...

I'll try this on my next shoot.

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