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Number of audio channels for TV production


Melissa

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I am about to work on a tv program where there is sometimes more than two interveners with dialogue (like an organised group of people). Although I have a SD 442, we are recording straight to the camera, a Sony FS7, so only 2 audio inputs.

Coming from film production, my approach would be, in general, to wire the two interveners and boom, but being the first time on a TV program, I am unsure what are the usual approaches. Is it common to mix for example 2 lavs into one channel and the boom on the other? Or simply give priority to booming (which sounds more logic to me)?

 

Thanks in advance!

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Mix Track: Contains all inputs to mixed in one mono track.
Iso Tracks: Each input has it's own track; unaffected from fader movement (pre-fader).

With the iso tracks you have the ability to edit and re-mix the whole interview.

Let's take your scenario. Two interviewers (no presenter?).
- Two lavaliers
- One boom

Total Tracks: 4

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The other workflow is to leave unmixed the interview (post-fader iso track).
Mixing process will take place in post.

--

Let's faced. One time (and my first time in tv world) I leaved the interview unmixed. I burned.
Why? Because TV world it's fast environment and need to be done quickly and good.

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I use to do a lot of TV mag type jobs using a 442 mixed straight to cam. They rarely wanted to pay for more then two radio mics. Radio important people, boom the rest or how the shot/style of the show dictates. Radio mics on one channel and boom on the other is standard practice. 

 

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I would think a chat with the editor or producer would be in order.  Here's what you want, here's what I can do for you.  Discuss with them, and work with their desires.  It may not be the best scenerio but it makes them happy.  You can always record a backup or iso tracks and have them at the ready when their plan fails miserably..

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More than 2 people being interviewed at once? Depends on type of format, camera style (on sticks/handheld/lighting etc), what the desired workflow is in post. If it sounds good all on boom - do it on boom. You can radio up to 4 and mix that, or a combo of mixing main talkers on one channel with radios and boom on other channel. If they'd prefer isos then they'd need to have a discussion with production....

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2 Radios combined to one channel and the boom on the other is a tried and true method, you can monitor both and mix the radios while working the boom. If you have access to a separate recorder (Zoom H6) you can record the isos (and the mix) from the SD442s additional channel and mix outputs.

It has saved me a few times but since most of these small recorders don't have TC and you'll likely won't use time of day TC (rec run is most likely) the post guys will have to manually walk in the audio. That's when the mix track on the stand alone recorder comes in handy because it's waveform will match at least one track of the camera audio. Or they'll use software to sync it up if needed.

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  • 3 months later...

 

On 4/28/2016 at 2:20 PM, cmassey said:

I would think a chat with the editor or producer would be in order.  Here's what you want, here's what I can do for you.  Discuss with them, and work with their desires.  It may not be the best scenerio but it makes them happy.  You can always record a backup or iso tracks and have them at the ready when their plan fails miserably..

It just came down to deliver good sound, and that was all. Rarely there is more than one person talking, and if it is two, usually lavs do the work. So, no strict rules, just what is best in the circumstance. We also used the XDACA Extension Unit when we can be a little more creative.

Although there is an expectation to use the lavs all the time, they trust my choices. Sometimes using boom or lav also depends on how the photographer is working and what is best for us both to move without accidents. 

On 5/4/2016 at 3:29 PM, Werner Althaus said:

2 Radios combined to one channel and the boom on the other is a tried and true method, you can monitor both and mix the radios while working the boom. If you have access to a separate recorder (Zoom H6) you can record the isos (and the mix) from the SD442s additional channel and mix outputs.

It has saved me a few times but since most of these small recorders don't have TC and you'll likely won't use time of day TC (rec run is most likely) the post guys will have to manually walk in the audio. That's when the mix track on the stand alone recorder comes in handy because it's waveform will match at least one track of the camera audio. Or they'll use software to sync it up if needed.

Usually no access to a separate recorder. Also the sound post-production schedule is extremely short, so there is a wish for narrowing down the choices. 

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