BoroParmo Posted July 29, 2016 Report Share Posted July 29, 2016 Hi all, I'm working on a short film (very low budget) next month and have been to scout out the locations the other day, I found out that both exterior locations are going to cause me problems as ones next to a noisy road and the other is next to a scrap yard (lorry's and wagons moving about quite regularly) I am an amateur sound recordist so I dont really have much access to different microphones, my kit for this is going to be; Rode NTG 2, Rode NT4, 2 Sony radio mics, Tascam DR 60D, boom pole and blimp Just wondering what the best sound quality I could achieve is (radio mic or shotgun) Thanks in advance and let me know if you need anymore info Quote Link to comment Share on other sites More sharing options...
Mirror Posted July 29, 2016 Report Share Posted July 29, 2016 radio mic them and get the lav as high as you can, or to say, as close to the mouth as you can. Good luck on your project. Quote Link to comment Share on other sites More sharing options...
Philip Perkins Posted July 29, 2016 Report Share Posted July 29, 2016 There is nothing wrong with your gear. There are many things wrong with those locations. Speak up about them to the director now, if only to achieve plausible deniability later. Quote Link to comment Share on other sites More sharing options...
Jim Feeley Posted July 29, 2016 Report Share Posted July 29, 2016 Maybe download a SPL meter app to your smart phone. I have db Meter Pro on my iPhone, but there are plenty of others. I find that's sometimes helpful for making my case that a location or current noise is loud enough to impair good audio tracks. Usually, people trust me when I say there will be a problem. I don't need to explain dB scale or anything, but occasionally it helps to be able to show visually that it's 83 loud. Good luck. Quote Link to comment Share on other sites More sharing options...
BoroParmo Posted July 29, 2016 Author Report Share Posted July 29, 2016 Thanks all for your feedback Mirror - I thought that might be the case, just have to find ways to hide them in costume now haha Philip - Unfortunately the locations are set so I've just got to do the best I can with the equipment I have Jim - Thanks for that I'll have a look into it, sounds very interesting Quote Link to comment Share on other sites More sharing options...
daniel Posted July 30, 2016 Report Share Posted July 30, 2016 Sounds like a typical LB british production. Probably a fortunes worth of camera and lenses, a DP with an agent and a director with awesome showreel of non sync films :~) etc. As a supplement to the above 3 suggestions: Building on PP's 'plausible deniability' - try to get some clean 'buzz track' at the beginning and/or end of each take and wild line acquisition structured into the schedule, explaining this may just be enough to avoid ADR. There is a chance they'll consider covering the scenes with a sympathetic choice of shots (eg CUs for sync, WS for non sync) but it'll only happen if the DP thinks it'll look good on his showreel :-) Quote Link to comment Share on other sites More sharing options...
Richard Thomas Posted July 30, 2016 Report Share Posted July 30, 2016 16 hours ago, BoroParmo said: Philip - Unfortunately the locations are set so I've just got to do the best I can with the equipment I have As Philip said, the "best" you can do doesn't involve equipment- it's letting the director and producer know what's going to work and what isn't and letting them make the call on whether they need usable sync sound in these scenes or not. It's better if you can offer some kind of solution or compromise If you're next to these places and they're not established in shot then it's probably going to be distracting to the audience and won't cut easily Quote Link to comment Share on other sites More sharing options...
BoroParmo Posted July 30, 2016 Author Report Share Posted July 30, 2016 Haha Daniel your exactly right :') will have to have a word with the director and DOP to see what they say, I was planning on recording a lot of buzz track anyway so the post mixer has a bit of an easier job! Richard - The thing is I'm trying to get the noise from the locations in the film for example machinery being operated, just as long as it doesn't overpower the actors voice. Quote Link to comment Share on other sites More sharing options...
NBJersey Posted July 30, 2016 Report Share Posted July 30, 2016 If at all possible, record the machinery first and then turn it off for the dialogue. I can't think of any situations where you aren't better off putting the machines back in in post. Quote Link to comment Share on other sites More sharing options...
RadoStefanov Posted July 30, 2016 Report Share Posted July 30, 2016 dpa miniature mics is my noisy environment magic... Quote Link to comment Share on other sites More sharing options...
Philip Perkins Posted July 31, 2016 Report Share Posted July 31, 2016 Cedar is mine. Quote Link to comment Share on other sites More sharing options...
Marc Wielage Posted July 31, 2016 Report Share Posted July 31, 2016 And get it in writing. Make it clear in emails that the location will be problematic, and "location sound recording" is the job title. You can't just record the dialogue -- it's all about the environment. Be prepared for ADR in post. Quote Link to comment Share on other sites More sharing options...
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