Prahlad Strickland Posted June 5, 2014 Report Share Posted June 5, 2014 This has been discussed many times, and i've read through some of those threads and have a few things to try out as suggested there. There are always new products popping up, new techniques people comes across, hoping to shed some light on a reacurring shoot i'm doing here in hawaii. The wind is coming straight off the ocean and kind of to the side of a stationary talent. It's really gusty wind, constant but gusty. It's always windy at this location and i've tried sandwiches with moleskin, i've tried the lmc furry. I've tried the rycote stickon fluffy type. It's always going to be mounted under loosly fitted top layer, but above under layer. I'm still getting that whooshing sound, not super low rumble, more broad specturm whoosh of the wind. Just wondering if you could share some ideas and techniques you use with lav's that you've had success with. I can't boom this shot as it's wide for the first minute before going into a tight. Quote Link to comment Share on other sites More sharing options...
Marc Wielage Posted June 5, 2014 Report Share Posted June 5, 2014 Have the grips bring in a big 4X scrim and put it just out of range of the camera to stop the wind from hitting the actor so hard. It might actually help the lighting, too. Also, different lavs will have different sensitivities to wind. You could try (for example) a COS-11 upside down with a furry on it, which has worked for me in some cases. Quote Link to comment Share on other sites More sharing options...
studiomprd Posted June 5, 2014 Report Share Posted June 5, 2014 couple of thoughts, Laddie: it takes years of experience to get years of experience, and there is a lot of trial and error involved. perhaps there are unreasonable expectations involved ?? Quote Link to comment Share on other sites More sharing options...
Prahlad Strickland Posted June 5, 2014 Author Report Share Posted June 5, 2014 couple of thoughts, Laddie: it takes years of experience to get years of experience, and there is a lot of trial and error involved. perhaps there are unreasonable expectations involved ?? I want perfection every time I record :-), hahaha this location is always windy, I will try Marc, and use the time machine from senator, and lets see how this pans out. Quote Link to comment Share on other sites More sharing options...
studiomprd Posted June 5, 2014 Report Share Posted June 5, 2014 Laddie: " this location is always windy, ...I want perfection every time I record " perhaps: unreasonable expectations...? Εστάλη από μία από τις προσωπικές συσκευές ηλεκτρονικού υπολογιστή χρησιμοποιώντας ένα πρόγραμμα στο Internet, μπορείτε να μου πείτε ποιά ? Quote Link to comment Share on other sites More sharing options...
Marc Wielage Posted June 6, 2014 Report Share Posted June 6, 2014 The Senator is again right: there are locations so noisy and/or windy, it's not possible to get good dialogue there. All they can do is 1) change locations, or 2) ADR everything. There's the small possibility that there are days that are not windy, but that's trial and error. I have used a grip and/or PAs holding 4x4's before just to take the brunt of the wind, and if it's a silk or a white bounce, the DP doesn't mind (assuming it fits with his or her lighting scheme). Quote Link to comment Share on other sites More sharing options...
Prahlad Strickland Posted June 6, 2014 Author Report Share Posted June 6, 2014 The Senator is again right: there are locations so noisy and/or windy, it's not possible to get good dialogue there. All they can do is 1) change locations, or 2) ADR everything. There's the small possibility that there are days that are not windy, but that's trial and error. I have used a grip and/or PAs holding 4x4's before just to take the brunt of the wind, and if it's a silk or a white bounce, the DP doesn't mind (assuming it fits with his or her lighting scheme). Ok, this is really good information to know. I really appreciate it, Laddie: " this location is always windy, ...I want perfection every time I record " perhaps: unreasonable expectations...? Εστάλη από μία από τις προσωπικές συσκευές ηλεκτρονικού υπολογιστή χρησιμοποιώντας ένα πρόγραμμα στο Internet, μπορείτε να μου πείτε ποιά ? γερουσιαστής είστε ο καπετάνιος και ο ηγέτης του ελεύθερου κόσμου, με προσλάβει όταν είστε εδώ δίπλα Quote Link to comment Share on other sites More sharing options...
jason porter Posted June 6, 2014 Report Share Posted June 6, 2014 The "full-blown" Rycote lav windsock works very well in very high winds. This has been discussed many times, and i've read through some of those threads and have a few things to try out as suggested there. There are always new products popping up, new techniques people comes across, hoping to shed some light on a reacurring shoot i'm doing here in hawaii. The wind is coming straight off the ocean and kind of to the side of a stationary talent. It's really gusty wind, constant but gusty. It's always windy at this location and i've tried sandwiches with moleskin, i've tried the lmc furry. I've tried the rycote stickon fluffy type. It's always going to be mounted under loosly fitted top layer, but above under layer. I'm still getting that whooshing sound, not super low rumble, more broad specturm whoosh of the wind. Just wondering if you could share some ideas and techniques you use with lav's that you've had success with. I can't boom this shot as it's wide for the first minute before going into a tight. Quote Link to comment Share on other sites More sharing options...
Jim Feeley Posted June 6, 2014 Report Share Posted June 6, 2014 Have the grips bring in a big 4X scrim and put it just out of range of the camera to stop the wind from hitting the actor so hard. Because if it does hit the actor, it'll be soft... Quote Link to comment Share on other sites More sharing options...
AVUrlacher Posted June 6, 2014 Report Share Posted June 6, 2014 Well done Mr. Feeley. --au Quote Link to comment Share on other sites More sharing options...
John Blankenship Posted June 6, 2014 Report Share Posted June 6, 2014 On a really windy hill overlooking a lake, I got surprisingly good performance with a Rycote Overcover and a grip holding a 4x4 as Marc describes. Just make sure that the talent's clothes don't catch the wind in a way that scoups it into the clothes and toward the mic. Quote Link to comment Share on other sites More sharing options...
studiomprd Posted June 6, 2014 Report Share Posted June 6, 2014 marc: " All they can do is... " well, there is often more, but the initial information was insufficient to say, but... how about a hand held RE-50 (or is this a narrative ?) maybe even an open lav with wind protection..? how about modifying the shot to deal with a boom ?? shoot the wide (cover) with out sync dialog, then do all the dialog in the tight shot with a boom, and edit the wide shot over the beginning..? remember, this is a team sport. This also brings up the periodic refrain about how if you just pay enough for a sound crew, even a good one, you will get good sound; this is not true if the movie maker has unreasonable expectations, and sticks to them (style triumphs over substance!) Quote Link to comment Share on other sites More sharing options...
jrd456 Posted June 6, 2014 Report Share Posted June 6, 2014 I find cos-11's and there wind gadgets with a rycote overcover works best. Also, a 4x4 scrim would help a lot because the problem is also [maybe] the sound of the clothes being hit by the wind. J.D. Quote Link to comment Share on other sites More sharing options...
Prahlad Strickland Posted June 7, 2014 Author Report Share Posted June 7, 2014 great advice thanks. yeh the style of shooting unfortunately will always have a wide and close up, so the boom sits it out. I went out there yesterday and tried some of all your suggestions and had some good results. Definatley I think it' a mixture of the type of clothing (silky and loose female top) I had good results with top stick fixing the shirt to the top of the mole skin mount. Not sure if they'll go for this or not. At least I have a few more tricks to pull out next shoot. Quote Link to comment Share on other sites More sharing options...
Marc Wielage Posted June 7, 2014 Report Share Posted June 7, 2014 Because if it does hit the actor, it'll be soft... I've been slammed by scrims and flags many times on set, usually when they didn't sand bag them enough. The smart crews will have a grip actually standing by the C-stand physically holding it in the wind so it won't jiggle or fall down. My suggestion will still work -- you just have to have a crew competent enough to handle it. And if it's gale-force winds, nothing's gonna work. You could put up a brick wall 25 feet high, and it's still going to be noisy. As JRD above says, the sound of the clothing itself flopping around makes a lot of noise. Quote Link to comment Share on other sites More sharing options...
Jim Feeley Posted June 7, 2014 Report Share Posted June 7, 2014 Marc, I was just being silly...and yesterday that video clip was everywhere. I've been hit by stuff on sets, too. I'd guess most of us have. And using a big scrim as a windbreak is a useful technique. Quote Link to comment Share on other sites More sharing options...
mulluysavage Posted June 9, 2014 Report Share Posted June 9, 2014 On a really windy hill overlooking a lake, I got surprisingly good performance with a Rycote Overcover and a grip holding a 4x4 as Marc describes. Just make sure that the talent's clothes don't catch the wind in a way that scoups it into the clothes and toward the mic. Sometimes I can keep the layers of clothing from doing this by taping them together with Topstick. Sent from my iPad using Tapatalk Quote Link to comment Share on other sites More sharing options...
gavin Posted June 11, 2014 Report Share Posted June 11, 2014 An 816 in a fluffy and blimp are great in high wind, though a tad unwieldy... if you can't get it on that, then the shot is wide enough to do wild lines and edit them in post. Quote Link to comment Share on other sites More sharing options...
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