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Room with lots of reverberation


Attila
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Hi together.

 

We are shooting in a location with lot of reverberation because of the high ceilings.

I am using a hypercardiod mic AKG C480 which I always use inside. The boom sounds difficult even when 50cm away. All actors are laved and I dial in some amount to the boom.

I have told the production about the problem and suggested to hang molton on the ceilings. They have no

time either the personal to do it. Also I cant use blankets because of the limited space.

Does somebody have some suggestion?

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9 hours ago, Michael Manzke said:

Some molton mounted on a c-stand might help (rollmops) and should be set up quite fast. Apart from that, a superCMIT or a Cedar DNS might also help reduce the reverberation. 

For a Rollmops there is not enough space. 

Does the SuperCmit Computer the reverb away? A Shotgun normaly doesnt help in such a situation.

Maybe I will be a post thing to get thus right.... but I dont like this though

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How do the lavs sound?  The ability to get reverb under control in post has really gotten pretty good.  Izotope, Accentize, Acon Digital, Zynaptiq are all decent options to try.  Of course you want to do what you can on location but its often not practical or effective.  I have all of the programs mentioned.  I'd be happy to do a test for you and see how effectively the reverb can be reduced.

 

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Schoeps Super CMIT is very good at removing reverb, to the extent that it can be too good on setting 2.
An example, filming in a ten meter cubic stone room in a castle, with stone floors, stone walls, and stone ceiling, with a massive stone table it was a reverb chamber, the Super CMIT on setting 2 was way too good at removing the reverb and it didn't sound like it looked. The Super CMIT was also way better than a close mic'd DPA lav, in the same circumstances.
The advantage the Super CMIT has, is that it works in 3D space and does clever things with phase, arrival times, and direction with two capsules whereas post solutions effectively work in the equivalent of 2D space as the mono recording has effectively stripped out all the spatial information, like when you're wearing headphones you can't tell what direction an intrusive noise is coming from, because the headphones remove the information the brain uses to very accurately detemine direction, that's what a post solution is working with, a 2D representation of the sound, whereas the Super CMIT is actually present in the space and makes use of 3D information.

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On 3/29/2021 at 5:49 PM, berniebeaudry said:

How do the lavs sound?  The ability to get reverb under control in post has really gotten pretty good.  Izotope, Accentize, Acon Digital, Zynaptiq are all decent options to try.  Of course you want to do what you can on location but its often not practical or effective.  I have all of the programs mentioned.  I'd be happy to do a test for you and see how effectively the reverb can be reduced.

 

The lavs sound roomy too, but with a fundamaent, which I dial to the boom, for some body I  wider shot.

I thouht about the differenve of a Super CMit and postmoval. Your terms of 3d and 2d are really good and I was thinking in a similar direction.

I never used a Super Cmit. It is a digital 2 Channel mic, right? Booming on a analog 1 channel transmitter is so not possible. Right?

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34 minutes ago, Attila said:

The lavs sound roomy too, but with a fundamaent, which I dial to the boom, for some body I  wider shot.

I thouht about the differenve of a Super CMit and postmoval. Your terms of 3d and 2d are really good and I was thinking in a similar direction.

I never used a Super Cmit. It is a digital 2 Channel mic, right? Booming on a analog 1 channel transmitter is so not possible. Right?

You can use the mini-DA42 to an analog TX. It needs external power, so you'll end up with a cabled boom and some belt pack for the boom operator. Clumsy, but possible.

The SuperCMITs off axis rejection is superb, which makes it hard or impossible to catch dialog with only one unit. At lest in mode 2, but even mode 1 needs getting used to.

I've boomed a telenovela where 2 SuperCMITs are (or where) used by 2 operators this way  regularly for outdoor and some studio sets. We used AudioLtd TX2020 at the time.

This mic has a significant self noise. You can deal with it, but it's worth mentioning.

You don't want to mix this mic to other non SuperCMIT signals from the same sound source, e.g. lavs, as it's digital magic varies in latency, depending on the audio frequency.

 

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3 hours ago, Attila said:

The lavs sound roomy too, but with a fundamaent, which I dial to the boom, for some body I  wider shot.

I thouht about the differenve of a Super CMit and postmoval. Your terms of 3d and 2d are really good and I was thinking in a similar direction.

I never used a Super Cmit. It is a digital 2 Channel mic, right? Booming on a analog 1 channel transmitter is so not possible. Right?

It's two channels via AES42 (Channel 1 is the SuperCMIT signal, channel 2 is the untreated signal), so if you have enough spare inputs I'd record both of them. 

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