Guest Jeffrey Colon Posted October 31, 2006 Report Share Posted October 31, 2006 Hello All, I am wondering if any feature mixers are placing lavs a little further down the chest to alleviate some of the "in you ear" perspective... In the ENG/EFP world, I sometimes sacrifice proper placement for a little better sn ratio... when it's really loud, I sometimes just use two lavs with one ( a B6 usually) at the throat... just wondering what your thoughts are RE: lav placement and the tight/wide syndrome... Jeff C www.nolavox.com Quote Link to comment Share on other sites More sharing options...
Jim Rillie Posted November 1, 2006 Report Share Posted November 1, 2006 Hi Jeff, Not strictly a "Feature" mixer, but mostly dramatic content. I'm a production sound mixer who does MOW's, and independent features for theatrical release, commercials, and a bit of video "documentary". My use of RF body mics has always been for a shot where the boom just can't get or may not get the required appropriate level and perspective. I have my crew or myself mount body mics to give us the most complimentary image of the speaker's voice as possible, which under most circumstances eliminates the "on the neck" idea. When I hear it, it always drives me up the wall - the "throaty" dull chin shadowed sound. Of course, it is usually heard in the type of situation you mentioned- too much BG to go any other way. In drama production the priorities are different, so we go for making it sound as good as it can under the circumstances. the further from the mouth , the less differences we hear from (mild) head turns, etc. Also I have found that at around the sternum usually is about the best location for bass response with male performers. The other benefit is that when the wireless ISO and boom ISO are later blended with the correct phase adjustment (easy in Pro Tools) they may well compliment each other and help keep the perspective with the dialogue still being nicely there without being in your face. We also can do this phase correction by finding the right boom position in relation to the body mic. So, I guess it comes down to, is what you need to get out of the body mic. The uglier the acoustic BG, the more compromises to aesthetics. Jim Rillie Quote Link to comment Share on other sites More sharing options...
Guest Mick Posted November 1, 2006 Report Share Posted November 1, 2006 You can place a Sanken, and we invariably do this almost every day, in a tie knot, which is as close to a sound source as you can get. However, in order to compensate for the proximity effect a little judicious use of EQ is required, and if you are indoors, then some boom to wet it down a little. I've seen posts here from guys that never mix in boom sound with wires because they like to leave that to post which is a choice which hopefully is arrived at after close discussion with the post people. I like to use some negative EQ to reduce the "middle" harshness and some high end boost to compensate for the Sanken being upside down in the tie knot, but different strokes.... Regards Mick Quote Link to comment Share on other sites More sharing options...
Guest Mick Posted November 1, 2006 Report Share Posted November 1, 2006 ....and I agree with everything Jim said... Quote Link to comment Share on other sites More sharing options...
Jim Rillie Posted November 1, 2006 Report Share Posted November 1, 2006 Yeah, The Sanken in the tie knot is the one that breaks my rule, but so often used by all of us. And if the mic is pointed down usually no EQ felt to be needed. Jim Quote Link to comment Share on other sites More sharing options...
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