Members belayslave Posted January 26, 2007 Members Share Posted January 26, 2007 Hey guys,I've just scored my first gig as location sound engineer for a short feature film. Having never done a 'on location' shoot before i wanted to get some advice and tips:The basic idea is - 5 soldiers in the bush, all have speaking parts.I assume we'll have generator power onsite so the gear probably doesn't have to be battery powered. My thoughts were trying to get a lapel mic on each of them, along with a boom mic (or two) backup. That's a fair amount of gear though, this is all budget dependent too. I have no idea what recording medium i should use. I have a ProTools LE 002 Console rig but it probably isn't the most portable. It'd be great to use it though if possible because i know it inside out. Did i mention i have a meeting tomorrow where i'll have to discuss options with the Producers and Directors??!! Any help, tips and experience would be great. Specific brands and models of gear, and why you reccommend it would be great too. Thanks all.Chris Link to comment Share on other sites More sharing options...
Members belayslave Posted January 26, 2007 Author Members Share Posted January 26, 2007 Ok further to my above post,I've had reccommendations of Sunnheisher or Neumann for booms, but i have free access to AudioTechnica 815's. How do they compare? Also for lapels, top line models are the lectrosonic RF packs with either Sanken or Countrymen lapels. I have access to Sony URX-P1 & URX-B1 packs with sony standard lapels? Also with these sony receive packs, the mini-jack ouput on them, is that at line or mic level? Link to comment Share on other sites More sharing options...
Members milesdf Posted January 26, 2007 Members Share Posted January 26, 2007 hm is this recording for the movie or for cueing for voiceovers? huge difference required in quality. almost everything even down to the most low budget indy film doesnt contain any sound recorded on location. either way this is better asked in the recording forum. Link to comment Share on other sites More sharing options...
Members Unsound Practices Posted January 26, 2007 Members Share Posted January 26, 2007 In my previous life in broadcast news the standard location kit was a Sennie MKH416 on a boom, a pair of Sony ECM-77B lavs for hard wire, a pair of Sony wirelesses with ECM77 mics, Shure FP32A 3x2 mixer, and sometimes another stereo wireless from the mixer to the camera. Audio was recorded on two tracks on the camera (Betacam). A freelance sound guy with that gear could be hired for about US$400/day, excluding meals and transport. If its a real film shoot, that's a very different game. Think sync... Note the 77s (or any lav) are crap the minute they start rubbing on clothing. Link to comment Share on other sites More sharing options...
Members belayslave Posted January 26, 2007 Author Members Share Posted January 26, 2007 Hi Milesdf & Unsound. As said i'm meeting with the directors tomorrow and will find out if the audio i'm recording will be for the film or just voice over cues. From what i know to date, it is going to be for the film. It'll definitely have to be wireless for the lapels, not hard wired. will go post this in recording forum as well, thanks. Link to comment Share on other sites More sharing options...
Members agedhorse Posted January 26, 2007 Members Share Posted January 26, 2007 815's may be just fine. Often, people think they can hear a difference but in reality they just see (and THEN hear) a difference. Link to comment Share on other sites More sharing options...
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