pkautzsch Posted October 7, 2014 Report Share Posted October 7, 2014 The usual "quick TV drama" way I know is not to incorporate the noise on set, but to use the clean sound from the closeups for the wide too. Doesn't sound too credible to me even through TV speakers, but apparently most viewers prefer dialog intelligibility over realistic perspective. We must never forget that we are telling a fictional story, or (documentary) showing a small fragment of an actual situation. Both does not need something that was there but distracts from the important things. I do agree that if a noise source cannot be eliminated it should be separately miked, carefully keeping the dialog out of that "live background" mic. This goes especially for noises that come and go as they like - think single cars passing nearby. Quote Link to comment Share on other sites More sharing options...
VASI Posted October 7, 2014 Report Share Posted October 7, 2014 sorry Vas, you didn't get it, Matt did: " the concept would be to not use any audio from the wide with the fountain noise. " - The concept is to work with this things and not put the hot potato in post production. If you don't know who this things work; leave it for someone else or post production. If you know how this things work; then you cut the edit and mix time at post production dramatically (and a good wine from post). Vas: " You tell them to go for ADR? No " actually, in this case it was production that brought up ADR... - So, extra money for post production and after 5 months of the original performance from actor. Good luck. The actor have start a new work and you have a producer in the phone. You can't do this in a small industry. A big budget is good, but in small budget you learn who to work. Quote Link to comment Share on other sites More sharing options...
VASI Posted October 7, 2014 Report Share Posted October 7, 2014 Daniel you have PM Quote Link to comment Share on other sites More sharing options...
tonetripper Posted October 16, 2014 Report Share Posted October 16, 2014 i think the most important thing is intelligibility of dialogue while maintaining consistency with your background. In the world of tv the turn around is sometimes so quick for post that our job, sometimes, is to deliver audible audio regardless of background. I like to defer to the director in all cases. I make the note, they tell me what they want to live with, and I adjust. If the fountain can turn off on closeups then great, but if it can't I adjust. Also there is something to be said for delivery by actors in loud circumstances. People will always try to be heard when speaking even if a loud noise exists, so the whisper goes to a projected stage actor volume. If the director is happy, I am too. The idea of post building it with wild tracks is becoming far and few between IMHO, I've also spent tons of time in documentary trenches to know how much wires when properly placed can beat the background. Rubberized hogs hair is the best for water stuff. Also, in a tv environment, when the 1st AD gives you the hairy eyeball, cuz you want roomtone of the fountain that they have sound libraries for that will never match the street ambience on their rebuild in post, I think it better in most cases to minimize and make it work. Remember when that fountains off that truck driving by just got way louder with, all of a sudden, whispering actors. Quote Link to comment Share on other sites More sharing options...
BVS Posted October 17, 2014 Report Share Posted October 17, 2014 On a few shoots I have had to" tune" the stream where they decided to shoot the scenes... this involved looking at the water flow where there were bubbles and disturbed water running. By altering the placement of rocks and getting a smooth flow I managed to get the dialog much cleaner.. Quote Link to comment Share on other sites More sharing options...
Nate C Posted October 17, 2014 Report Share Posted October 17, 2014 Did that recently on a doco in the Blue Mountains. Damn the water was cold. Quote Link to comment Share on other sites More sharing options...
Constantin Posted October 17, 2014 Report Share Posted October 17, 2014 Simon! Obviously this worked OK for you but if you have access to rubberised hogs-hair in Canada you could have achieved the same or better effect. We have it here in the UK and use it all the time for falling rain onto hard surfaces. The joy of this stuff is that it can be used over and over again. Malcolm, this hog's hair has been mentioned a few times around here. Would you happen to have a link for where you vought this and which type? I've been looking around, but there are many different types. Thanks! Quote Link to comment Share on other sites More sharing options...
VASI Posted October 17, 2014 Report Share Posted October 17, 2014 On a few shoots I have had to" tune" the stream where they decided to shoot the scenes... this involved looking at the water flow where there were bubbles and disturbed water running. By altering the placement of rocks and getting a smooth flow I managed to get the dialog much cleaner.. +1 Quote Link to comment Share on other sites More sharing options...
Malcolm Davies Amps CAS Posted October 17, 2014 Report Share Posted October 17, 2014 Malcolm, this hog's hair has been mentioned a few times around here. Would you happen to have a link for where you vought this and which type? I've been looking around, but there are many different types. Thanks! Constantin. The company in the UK is called Woolies. They specialise in car restoration materials. Website is www.woolies-trim.co.uk. Their telephone number is +44 (0) 1778-347347. It comes in sheets 6ft x 3ft-( 1830mm x 915mm) and is 25mm thick. It's about 32 UK pounds per sheet. There is another company that I'm trying to remember. If I find it I'll let you know. Quote Link to comment Share on other sites More sharing options...
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