Run n gun location sound

[Yosuke]

Hi, i have this shoot coming up that is going to be run n gun documentary style shoot.

How would you do your job as a sound guy? would you be tethered to camera all the time(which is not really an option, it is too clumsy). Or maybe sending the sound from Mixer to Camera with wireless kit like G3? Or mount a decent shotgun microphone on the camera? 

None of them seems like a perfect solution.

[Derek H]

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Put a camera mic on one channel of the camera and send a mix to the other channel. Record isos on the mixer. Or do something different it's up to you and the production to figure out what meets their needs. 

[Jack Norflus]

As Senator Mike would say

"It depends"

You need to have a conversation with production and see what their requirements are - then take it from there.

[VASI]

1 hour ago, Jack Norflus said:

As Senator Mike would say

"It depends"

You need to have a conversation with production and see what their requirements are - then take it from there.

This.

1. Do we need only a mixer?
2. Do we need mixer/recorder (Sound Devices 633 type)?
3. Do we need to roll sound in sync for all shoots?
4. Do we need timecode?
5. Do we need a camera wireless hop (from mixer or mixer/recorder)?

From my experience:

- Mixer/Recorder
- Wireless to "talents" and presenter or journalist
- Of course a shotgun microphone with windshield
- Wireless camera hop
- Timecode (Time of Day / TOD, be specific about 23.976 or 29.976 or 25)
- 48/24
- Provide Mix Track and ISO Tracks
- Prepare yourself for 10+ hours working
- Drink water

Make the calculations about labor rate and gear rental rate. Have fun and good luck!

[daniel]

18 hours ago, Yosuke said:

Hi, i have this shoot coming up that is going to be run n gun documentary style shoot.

How would you do your job as a sound guy? would you be tethered to camera all the time(which is not really an option, it is too clumsy). Or maybe sending the sound from Mixer to Camera with wireless kit like G3? Or mount a decent shotgun microphone on the camera? 

None of them seems like a perfect solution.

Jack + Vas = +1+1.

I try: mixer/recorder, as many radio mics as production will pay for (with at least 1 channel available on a single RX so can be used as a camera hop), boom mic, a spare boom mic (which can be used on a camera), a mixer-camera umbilical, a TC box.

In my experience the deliverables are determined by production in advance but the manner in which they are delivered can be effected by circumstances on the ground including shooting style of director/camera op and technical changes/issues etc. 

The Logic of the above is you will always have at least 2 ways to get a signal from A to B to C* and can accommodate various scenarios without having to provide kit for free or up-sell something production don't think they need.

*C being Camera/s or the edit via recorder files, TC and/or camera mic for sync.

 

[saigon sound man]

I usually give tentacle units to all cameras for timecode (if the cameras don't have it). I run a SD633 with a wireless lav on the presenter and then also a wireless boom. In post everything should then sync up nicely with timecode in post. I must add this is for very small documentaries just usually interviewing 1-2 people at a time with 1 the camera s following 1 presenter. If I had more money I would add some kind of MS system in my boom to also cover ambience in a more professional manner. 

[ElanorR]

Way to go JWSound members.  I am happy to see so much constructive input here.