adult movie

[Dollsfoto]

So let me see if I have this right: You don't think folks here deserve to make a living, but you do think we owe you help in doing a mediocre job at a craft we've honed for years and take great pride in.

You say it is about you wanting to learn? Well, there is tons of excellent information on this site that will help you do just that without appearing to be a troll. But, still, you seem more invested in criticizing anyone who chooses not to indulge you than learning from those who have offered input. Is this the result of some persecution complex or are you just trying to see how much of a rise you can get from people here? If it's the former, you may be well suited for playing the submissive in your films.

 

 

And if you can't get a boom operator who has got at least some experience, I would not get one at all. A "friend" won't be any help at all and could actually make it worse than a stand. Booming for a take length of 15 minutes, as you said, will actually be very difficult, impossible for a newbie. Although it depends on the position ... of the boom-op.

 

 

If you want good results, get a pro. If it doesn't matter, try to do it yourself or get an amateur. As many of the threads here suggest: you get what you pay for.

 

I would hire a boom op and a sound mixer for this sort of job, because I can imagine lavs aren't going to be very useful in many circumstances, so having a top notch boom op is key, but having a mixer with the right equipment will also be very important (note most boom ops don't have equipment, sound mixers do), because having a variety of boom mics, as well as plant mics and some serious tricks up their sleeve is whats going to save the film.

 

Or you can just have bad audio and re dub everything….

 

You are not making it easy for me I think I will have to change my whole approach and re-think everything. Maybe really the best bet would be finding a boom operator/mixer who knows what he is doing.

[Rob Stalder]

Interesting thread, especially coming from your point of view.

I have done about 10 maybe adult films. Essentially they were no different from any other drama type work I have done.

One way YOU can look at sound acquisition is from the perspective of photographic framing.

Framing a scene is a serious skill...

Using a boom microphone to acquire the various sounds and volume of sounds is a serious skill...

When I have done them I boomed and mixed the sounds to give a finished complete & controlled, finished product.

I used a Sennheiser 416 (if I remember correctly) - (today I might use a Sanken CS30) - but I know how to handle one at the same time as adjusting levels. In the hands of a professional sound Recordists ALL of the nuances of sound can be picked up this way.

If I didn't know what I was doing I would probably be best advised to use a much wider (MKH50) patterned microphone.

The result YOU will get is about the same as I would get with a fixed wide angle lens.

 

My advice... hire a sound person a few times, you will probably find they actually save you a lot of money and heartache.

Think about it, hearing what people are saying And their emotional sound expressions are half of the tantalising appeal of your video.

Maybe you can get in touch with a film school for a sound person if you cant afford a professional.

Just make sure you explain fully what is the nature of what they will be exposed to.

I know for me it was no big deal and I maintained a respect for the actors involved.

 

There is also a lot of information on this sight that might help you form the right opinion about what you are attempting to do.

Hopefully there might be people who can give you a few thread URL's rather than suggest you search for answers.

RS

[RPSharman]

Maybe you can post in 'View From The Office' too ;-))

For sure the quote of the day... although I don't know what these adult movies of which you speak are all about.

But if I were to have ever seen such a thing, I'd expect that pretty much any mic into any mic pre into a C100 would result in satisfactory audio for what I expect is for a few minutes of occasional or regular internet viewing.

Just saying.

[jrd456]

Thank for the comment. I am even with MKH50 a bit worried that it is too directional, but at the beginning I was also thinking about picking up the CS3e (a bit problematic to obtain in EU). The problem is that I need to record the voice of the model and the "action sounds" at the same time. That would mean maybe I need two mics, one for voice and the other for action. I am not sure.

 

Try to use one boom mic.-----two mics. both open will sound funky if not on separate tracks,and even then may cause a problem in post.

[cameronlenart]

""condoms on the mics?" - that reveals something about the quality of the person."

In defense of Max, I think the joke may have gone over your head there, mixers often use condoms on mics as a splash proof last resort. Although it was a joke, it was referencing something that actually happens

[Max Hirtenstein]

Cameron speaks the truth

[mikewest]

At least there is good advice amongst the comments.

 

The dialogue intros would possible need decent boom operating skills

 

The "action" sequences less so but the need to handle a wide dynamic range would be essential.

 

Hey it's just a job, approach it with respect and professionally.

 

All the best

 

mike

[Dollsfoto]

Interesting thread, especially coming from your point of view.

I have done about 10 maybe adult films. Essentially they were no different from any other drama type work I have done.

One way YOU can look at sound acquisition is from the perspective of photographic framing.

Framing a scene is a serious skill...

Using a boom microphone to acquire the various sounds and volume of sounds is a serious skill...

When I have done them I boomed and mixed the sounds to give a finished complete & controlled, finished product.

I used a Sennheiser 416 (if I remember correctly) - (today I might use a Sanken CS30) - but I know how to handle one at the same time as adjusting levels. In the hands of a professional sound Recordists ALL of the nuances of sound can be picked up this way.

If I didn't know what I was doing I would probably be best advised to use a much wider (MKH50) patterned microphone.

The result YOU will get is about the same as I would get with a fixed wide angle lens.

 

My advice... hire a sound person a few times, you will probably find they actually save you a lot of money and heartache.

Think about it, hearing what people are saying And their emotional sound expressions are half of the tantalising appeal of your video.

Maybe you can get in touch with a film school for a sound person if you cant afford a professional.

Just make sure you explain fully what is the nature of what they will be exposed to.

I know for me it was no big deal and I maintained a respect for the actors involved.

 

There is also a lot of information on this sight that might help you form the right opinion about what you are attempting to do.

Hopefully there might be people who can give you a few thread URL's rather than suggest you search for answers.

RS

 

Thanks for the advice. As I said in my previous post I changed my whole approach about sound and now I am really sure that if the budget allows I will hire a professional sound guy, maybe try to find at least some students from film schools. Great idea. On the other hand I still need a Plan B, where my budget will not allow hiring a professional - in that case I am not sure what to do. If just mount the mic on boom in fixed position or mount on camera (no one really advises this) to get at least an usable audio when boom operator/mixer is not an option.

 

For sure the quote of the day... although I don't know what these adult movies of which you speak are all about.

But if I were to have ever seen such a thing, I'd expect that pretty much any mic into any mic pre into a C100 would result in satisfactory audio for what I expect is for a few minutes of occasional or regular internet viewing.

Just saying.

 

Thanks RPSharman for contributing in thread. I have read many times how much you like your MKH50 and it was the starting point for me to start thinking about buying one. Also many members recommended that particular mics for this work, so maybe I am "safe" with that one, even not the cheapest

 

 

[Dollsfoto]

So to re-write my initial question:

 

If boom operator/mixer is not an option, because the budget does not allow hiring sound guy, what should I do to get at least acceptable sound? 

 

How can I get the best audio from that situation?

[JWL]

Get a mkh 50, sd 302 and a ktek boom. And cables. You will be fine. Good luck mate.

[Constantin]

Actually, I would spend the money on a pro sound crew with their gear, or at the very least a pro boom-op with rented gear. Think of it as an investment into your future.

One, you can observe the pro crew and learn from them, and second, you will most likely hand in much better sound than anyone would have ever thought, thereby building your reputation, ensuring you'll get asked back for the next job which may have budget for a sound crew anyway.

Since you don't seem to want to become a soundie, what are you going to do with all that expensive gear?

[studiomprd]

foto: " Yes, there will be a cable to field monitor, "

Why ??

there is a place to save some money.

 

" Will I be able to do the "mixing" (adjusting gain) while doing the video/camera work "

NO

think the boomer can operate the camera while holding the mic..?

 

This applies not just here, but to all the wanna-bee's...JB hits another one out of the park: " You don't think folks here deserve to make a living, but you do think we owe you help in doing a mediocre job at a craft we've honed for years and take great pride in. "

 

Actually, Jon's option: " ... you can just have bad audio and re dub everything…. " may be a good way for you to start out.

 

and as to this from Constantin : " if you can't get a boom operator who has got at least some experience, I would not get one at all. "

on the sets of adult films you need someone focused on the job (in this case booming), and not "watching".  Your model/actors will require the same professional courtesy as snitty actors in 'regular movies', and in the adult entertainment business there are the same ego and 'pecking order' issues as well.  You will want a minimum of crew on the set, and all of the ones there should be necessary and working.

 

Egy személyes eszköz használja a számítógép internetes program,
meg tudod mondani hogy melyiket?

[Rick Reineke]

A friend, PA or other inexperienced person 'boom op' is a real bad idea and common with low budget productions. They can (and usually will) screw up the sound, not to mention damage the gear... and possibly the set and talent. You would be much better off using a C-stand. One less person on-set as well.

[Jay Rose]

To the OP's issue:

 

I've worked on only one sophisticated entertainment in my career, but have an actress friend who's done a bunch of them. (She's older now, and making a very good living doing mainstream vo.)

 

Bottom line: most of the 'dialog' during, um, money scenes is looped. Or rather not looped, but just dropped in, approximately in place, by the editor*. Consistent miking, let alone the issues of motel-room cheap sets, makes good dialog almost impossible.

 

So try 1) to get a good reference track, and  2) to persuade production to loop.

 

If 2) is absolutely impossible, use an E6 or similar mini head mic. Nobody's looking at the faces, anyway.

 

--

 

* I was going to type "gently slid in by the editor", but changed my mind.

[The Immoral Mr Teas]

Ps. If you need some stock ADR I can probably get it from my upstairs neighbor. Bwaahahaha.

 

 

Suzhou girls sound quite different from Pest girls, Michael, but could you send me some recordings for my library anyway?

 

And I wasn't even going to get involved with this thread ...

 

Jez Adamson (not afraid to put my name to filth)

[TommLab]

I know i'm going off topic but..
One quick question: who used or came up with the pseudonim Mike Rustle in adult movies?
 

[Tom Duffy]

(2nd hand story)

Back in the 90s, our technical support staff were called out to a problem with DTRS machine problems in the Los Angeles area.

Turned out to be an adult film.     The audio equipment was separate from the stage, but actors were always around reviewing the action after a scene.  

They instigated a "clothing required" policy around the equipment to mitigate the sweat and dampness that was causing the trouble.

[Angelo Waldron]

Mike Kable and Mike Wyre, among others.

did not always get screen credit, did always get paid (and the checks all cleared!)

never acted in them.

Isn't it "Mike Fluffer"?

[studiomprd]

that is "Flupher" or "Phluffer" (mit an umlaut!)

[Marc Wielage]

By an amazing coincidence, the fine HBO series Veep just threw in the line "I feel like a boom op on a porn shoot" on the (ahem) climactic episode for the season, and I thought that was so funny I grabbed the :48 second clip for this discussion:

 

 

Warning: very NSFW dialogue.

[SYsounds]

https://www.youtube.com/watch?v=ynZphQlnsIM

 

From the League with Seth Rogan, no one else in the room really understood why it was so funny to me. 

[Dollsfoto]

A friend, PA or other inexperienced person 'boom op' is a real bad idea and common with low budget productions. They can (and usually will) screw up the sound, not to mention damage the gear... and possibly the set and talent. You would be much better off using a C-stand. One less person on-set as well.

 

We will have to try this solution too. I suppose in our learning curve there will be a lot of trial error, on the other hand if we crew up everything it is still not the end of the world, because we can re-create the sound at worst case.

 

Actually, I would spend the money on a pro sound crew with their gear, or at the very least a pro boom-op with rented gear. Think of it as an investment into your future.

One, you can observe the pro crew and learn from them, and second, you will most likely hand in much better sound than anyone would have ever thought, thereby building your reputation, ensuring you'll get asked back for the next job which may have budget for a sound crew anyway.

Since you don't seem to want to become a soundie, what are you going to do with all that expensive gear?

 

It is a good idea to rent equipment or hire someone with gear, but as I mentioned it is not easy in Hungary, because we do not have lot of professional sound crew here. You are right that I do not want to become a soundie, but I have to have at least something for audio recording if I can not hire a professional audio guy. At least some basic equipment. The MKH50 is definitely not bacis, but so many members recommended it, that I suppose with that mic it will be less likely to totally screw up the sound. And on the other hand it is still better investment as the camera

 

foto: " Yes, there will be a cable to field monitor, "

Why ??

there is a place to save some money.....

 

......model/actors will require the same professional courtesy as snitty actors in 'regular movies', and in the adult entertainment business there are the same ego and 'pecking order' issues as well.  You will want a minimum of crew on the set, and all of the ones there should be necessary and working.

 

Egy személyes eszköz használja a számítógép internetes program,

meg tudod mondani hogy melyiket?

 

Nem szabad google translate használni

 

Field monitor is almost necessary for the C100, because it really does not have a good LCD. Not really suited for checking focus and if we will work with primes it will be really hard without filed monitor to judge the focus.

[Earmuffs]

Not for wireless lav placement.

Bahahaha!!!

-Mike M

[Constantin]

The MKH50 is an excellent mic, but for a beginner, who doesn't want to become an audio pro, I am not sure it's a wise investment. It's a very expensive microphone that is not suitable in every situation. Such a mic is not always ideal outside when shooting outside. Unless you only need the mic for this movie, I'd consider a more versatile and cheaper mic. Maybe one of the modular mics from AKG, Audio Technica or maybe even the cheaper (and not so grat sounding) Sennheiser K6/ME series. You can swap the capsules as needed and if you are worried that the MKH50's pickup pattern might still be too narrow for you, you could just change it to something wider on a modular series. The mic body plus a few capsules will still be less than one MKH50

[soundmanjohn]

I know i'm going off topic but..

One quick question: who used or came up with the pseudonim Mike Rustle in adult movies?

 

 

Also not wanting to derail the thread, but the staid & proper BBC service Radio 4 ran a series about a fictional station called Radio Active some years ago: the cast names were variously Mike Channel, Mike Flex, 'Uncle' Mike Stand, Anna Daptor and the "oh-so-daring Mike Hunt'. One epsiode title was "Radio Active's Mass Debate." They also had a musical segment, once featuring a band called The Hee Bee Gee Bees, whose hit song was entitled "Meaningless Songs In Very High Voices." I gather the parodied ones were not amused. The show eventually moved to television, when it was re-named KYTV. See? Back on top-ic.

 

John