Sound In Posted April 3, 2024 Report Posted April 3, 2024 Hi! I'm looking for any tips/tricks for doing location sound on a football field with a boom and lavs. The players pads will be mic'd up, and I will also boom them. This is new to me - I have more experience with narrative than sports, so I'm wondering if anyone has any tips/tricks or experience I can learn from about this specific kind of sound recording on the field? I've seen a few clips where tall players have grabbed the boom above them and talked into it without warning, and I've heard I will be running a lot to stay in range with my wires. Any suggestions or things to be aware of? Thanks so much! Quote
The Documentary Sound Guy Posted April 3, 2024 Report Posted April 3, 2024 If the players are on the field, make sure you run your transmitter locations and mounting plans by their trainer ... they can be a safety hazard in a contact sport. It's going to be loud. Use low-sensitivity lavs and a pad on your boom if you think you may need it. If you are at a live game, you are going to be constantly finding a balance between staying out of the way of audience sightlines and being in a position where you can do your job. Have a discussion with your director beforehand so you know what the priorities are and when to stick your boom in front of people's sightlines, and when to stay out of the way. Lav reception is more about clear line-of-sight than distance, so bear that in mind. Higher mW output can help with distance, but not with obstacles, so staying in range is more about position than distance. Don't let yourself get relegated to the sidelines, stay with camera (camera also needs line of sight for whomever is on camera, so you stand a fighting chance as long as you are with them). If you are planning to be stationary, consider a mast or stand to get your antennae up in the air, but more likely you'll be run & gun. If it's truly critical to hear players at a distance (and it probably isn't), consider using transmitters that record, so they can be retrieved afterwards. Since you are in the US, this limits your options to Zaxcom, Deity, and maybe Wisycom (?). Alternately, if you are ok shooting "deaf", you can get bodypack recorders that don't transmit and just retrieve the footage after the game. If you aren't used to run & gun, make sure you are taking your cues from what camera is doing, and establish good communication with the operator you are following early on. Use the boom to give a camera perspective, and, except for stand-ups where the players are talking to camera, you are probably going to be counting on the lavs to understand what is being said. So, make sure you are keeping track of which players are on camera at any given time and bring them up in the mix accordingly. This can and does change in an instant, as a camera sniping gameplay footage will be switching shots constantly. Quote
Sound In Posted April 4, 2024 Author Report Posted April 4, 2024 This is super helpful, thank you so much!! Quote
edward chick Posted April 4, 2024 Report Posted April 4, 2024 I have been doing location sound for college big 10 sports for many years. Cos 11 or dpa turned upside down mounted to avoid sweat dripping into it, mount with strong Velcro. Run the cable around collar of shoulder pad to back of pads, secure the cable with strong medical tape. There usually is a “flex” type of suspension that connects the pads in the back. Transmitter fits perfectly in between. Secure with Velcro. Let trainer or equip manager sign off. I have never lost a mic or transmitter with players hitting full contact. Yes they (players) yell, you will have to ride the gain and pull your boom back, it’s a live situation be ready to move. Try to stay out of way on sidelines. Post game it’s follow your camera op and roll with it. You may get banged around slightly, but that’s the gig. They rarely touch the boom. You have not mentioned what level of football you are covering, but in my experience college and pros are pretty respectful of you as long as you pay attention, you should have no problems. Your Producer/Director should have a good communication with the Sports Information Director or equivalent .They will dictate terms between coaches, players , and production crew. Don’t know what type of wireless you are using, but Lectro SM on player and smqv both at 250mw from bag to camera, I can be on opposite end zone and hear player clear and hit the camera clear.Also helps if there is an RF coordinator. I usually try to maintain line of site, but other players and tons of “guests” are always on sidelines. Depending on the story being told, player dialogue is important, (think NFL films). Have fun, with players mic’d it’s like you are in the game. I’m sure others have better tips than me, but that is how I have been doing it for several years and it works. Quote
John Blankenship Posted April 4, 2024 Report Posted April 4, 2024 If the game has a frequency coordinator you must clear any frequencies with them ahead of time. If it's an NFL game you must now use only encrypted systems. You may need to go through PR for wiring permissions but when wiring (as Edward stated above), work with the equipment manager. Quote
Recommended Posts
Join the conversation
You can post now and register later. If you have an account, sign in now to post with your account.
Note: Your post will require moderator approval before it will be visible.