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  1. I'm about to work on a short film where there are some exteriors that as usual require the use of a noisy generator for the lighting. The normal solution is of course to put is as far away as possible and preferrably around a corner of a structure or similar, and maybe use some sound blankets, but this is on a road surrounded by open fields. I then thought about bringing my own "corner or structure", such as a heavy table or similar to put in front of the generator and block the direct sound to the set. Instead of absorbing sound, you make it reflect to another direction. I don't know if it will work, but I intend to try it out. This kind of approach might be good on any exterior with a small centraliced noise source. Has anybody tried or frequently made use of something like this?
  2. I'm currently learning the proper use of sound blankets and other absorbing material on set to deal with reflections. So far I tend to use quite a lot in most locations I get to, thinking that you can always add reverb in post, but not take away what's already there. When moving the camera I often have to remove some of the added blankets, carpets etc out of the frame, and put it somewhere else. Now, I have not had much experience of dialogue editing, but what little I had taught me that very little is needed to change the sound of a room. I was wondering if maybe moving around absorbers this way might cause some trouble for sound editors, or if the added intelligibility is worth it? Should you perhaps only use sound absorbers in places where you know they won't need to be moved during the course of the scene? In the end, maybe it doesn't matter, since repositioning the mics, lamps and people etc has a far greater effect. Also, If I may cut in another absorption-related question, does anyone have any good tip on practical materials used to clean up low end on set? Is compact, thick matresses the best bet?
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