Quantcast
Advice on production sound for filmed theater play - Page 2 - Gearspace.com
The No.1 Website for Pro Audio
Advice on production sound for filmed theater play
Old 6 days ago
  #31
Gear Nut
 
Yes, they did work great, but couldn't be used for the reasons I described. Sounds like the OP wouldn't have such a situation, so three or four (depending the size of the performance area) PCCs would be great (as would cards, or better yet supercards [the PCCs are supercard], in mice).
Old 1 day ago
  #32
Here for the gear
 
First of all thanks everyone for chiming in and for your constant input! I've followed all your posts with great interest and am enjoying the discussion and 'FWIW' anecdotes immensely. I've refrained from posting until I had some more details and now I can sum it up as follows (still in-progress):

* To clarify, this will be a 'proper' film adaptation of the play, and not a video documentation of it as presented to a theater audience. Which begs the question if ADR and is the way to go…
* The set/stage will be a 10x10m (≈ 32x32 ft) "black box" of acoustic/stage fabric. I'm aware it's not broadband treatment but still better than some plain drywall… No idea about flooring.
* Most of the dialogue will be done by max 4 characters at a time, so we'll go with the 4x radios + room mics path.
* For budget reasons we'll probably end up using a MixPre10T.

To add to the nightmarish feel, I have yet to see any shotlist, so I have no way of planning with picture in mind at the moment, which is why I keep the setup as flexible as I can… 2 or 4 cardioid room mics, boundary mics, and any acoustic treatment will have to wait until I can personally inspect the set.
I'll report back then, looking forward to your comments!

Last edited by anearisanear; 1 day ago at 12:10 PM.. Reason: typo
Old 1 day ago | Show parent
  #33
Gear Guru
 
jwh1192's Avatar
 
2 Reviews written
🎧 15 years
Nice !!! are you running a Boom as well ???
Old 1 day ago | Show parent
  #34
Here for the gear
 
Quote:
Originally Posted by jwh1192 ➡️
Nice !!! are you running a Boom as well ???
I'll have a boom at hand, that much I can tell you right now! I'd rather boom it all the way, but we need to sit down with DP to see what's sensible under the circumstances… I'm worried any room mics we use won't be close/dry enough
Old 21 hours ago | Show parent
  #35
Gear Guru
 
Thomas W. Bethe's Avatar
 
1 Review written
🎧 15 years
Quote:
Originally Posted by anearisanear ➡️
I'll have a boom at hand, that much I can tell you right now! I'd rather boom it all the way, but we need to sit down with DP to see what's sensible under the circumstances… I'm worried any room mics we use won't be close/dry enough
The other person who you should talk to is the Lighting Director as he may have some suggestions or objections to using a "boom microphone".
Old 21 hours ago | Show parent
  #36
Lives for gear
Quote:
Originally Posted by Thomas W. Bethe ➡️
The other person who you should talk to is the Lighting Director as he may have some suggestions or objections to using a "boom microphone".
I think it appropriate to coordinate with lighting/grip. We have to understand the lighting - so we know where we are casting shadows. . .hopefully before working out a strategy with the DP.

But do objections from the Lighting Director usually count?


An inquiring mind,

Ray H.
Old 20 hours ago | Show parent
  #37
Gear Guru
 
Thomas W. Bethe's Avatar
 
1 Review written
🎧 15 years
Quote:
Originally Posted by RayHeath ➡️
I think it appropriate to coordinate with lighting/grip. We have to understand the lighting - so we know where we are casting shadows. . .hopefully before working out a strategy with the DP.

But do objections from the Lighting Director usually count?


An inquiring mind,

Ray H.
I worked at a PBS station in Cleveland. We had a Mole-Richardson boom and used it with an RCA KU3A and the Lighting Director had the final say it where and when we could use the boom mic as it caused shadows on the performers. This was in 1969 I am sure that today the lighting for TV and Movies is much different but still the Lighting Director may have the final say in what can and cannot be used. FWIW
Old 20 hours ago | Show parent
  #38
Gear Guru
 
1 Review written
🎧 5 years
Quote:
Originally Posted by RayHeath ➡️
do objections from the Lighting Director usually count?
oh yes!

the moment there are different departments, audio ALWAYS takes the lowest priority, no matter what! even if the director says differently and the entire project is about music; heck, even in live sound! - it is a law of nature...

(says an audiot)
Old 19 hours ago | Show parent
  #39
Lives for gear
 
kludgeaudio's Avatar
 
Quote:
Originally Posted by Wavefront ➡️
It is hard for me to picture a boom being a viable approach in this situation, particularly considering the videography.
Certainly not a hand-operated boom... but this sounds very much like a typical two-camera sitcom job, for which the Starbird and other large studio booms are intended.

Just don't get Mel Blanc to operate it: https://www.youtube.com/watch?v=IL2zyYWjjCE

Where you'd rent a studio boom today I don't know. Haven't seen one at any of the grip supply places I have been.
--scott
Old 18 hours ago | Show parent
  #40
Lives for gear
Quote:
Originally Posted by kludgeaudio ➡️
Certainly not a hand-operated boom... but this sounds very much like a typical two-camera sitcom job, for which the Starbird and other large studio booms are intended. [. . .]
This was before the dawn of carbon fiber - and long Panamic boom poles - of course. I prefer the latter. But the Mel Blanc skit wouldn’t be near as funny with my Panamic.

Ray H.
Old 17 hours ago | Show parent
  #41
Lives for gear
 
kludgeaudio's Avatar
 
Quote:
Originally Posted by RayHeath ➡️
This was before the dawn of carbon fiber - and long Panamic boom poles - of course. I prefer the latter. But the Mel Blanc skit wouldn’t be near as funny with my Panamic.
Panamic gets you, what, about 5 meters? That's great for a single-camera shot but problematic if you're switching between two cameras with medium shots. Also requires a better back than I or my wife have, even with the carbon fibre and super-light schoeps.
--scott
Old 15 hours ago | Show parent
  #42
Lives for gear
Quote:
Originally Posted by kludgeaudio ➡️
Panamic gets you, what, about 5 meters? That's great for a single-camera shot but problematic if you're switching between two cameras with medium shots. Also requires a better back than I or my wife have, even with the carbon fibre and super-light schoeps.
--scott
Yes, a single Panamic doesn’t always work. Of course, support rigging can always be improvised to save our backs.

For the project under discussion, I would be inclined towards two Schoeps MiniCMIT or CMC 1 L amps with MK 41 capsules at the ends of two Panamic poles - well, unless there was some defining constraint specific to the play/film.


The large studio booms would definitely be a nice to have, though.

Ray H.
Old 14 hours ago | Show parent
  #43
Gear Guru
 
jwh1192's Avatar
 
2 Reviews written
🎧 15 years
Fisher ... whereever you find Camera Dollies you should / might find A Fisher Boom .. the ones you Stand on and your Pion's move it around !!!
Old 5 hours ago | Show parent
  #44
Gear Head
 
🎧 10 years
Quote:
Originally Posted by anearisanear ➡️
I'll have a boom at hand, that much I can tell you right now! I'd rather boom it all the way, but we need to sit down with DP to see what's sensible under the circumstances… I'm worried any room mics we use won't be close/dry enough
I worked on a theater promo piece recently and it was alot of work even with an A2 helping to mic talent. Booming could possibly work if they are gonna do it in sections and do several takes, but you still will have to deal with shadows and getting in the wide shot.
Fortunately 4 wireless is not too bad to deal with, It'll just be about being prepared for the wardrobe changes and clothing noise. The Mixpre-10 will be a great recorder for this.
Old 2 hours ago | Show parent
  #45
Lives for gear
 
JCBigler's Avatar
 
🎧 5 years
Quote:
Originally Posted by hagstrom71 ➡️
Fortunately 4 wireless is not too bad to deal with, It'll just be about being prepared for the wardrobe changes and clothing noise. The Mixpre-10 will be a great recorder for this.
Your head would explode if you saw us dealing with the 40 or 50 wireless mics on a Broadway musical. That's standard stuff. Some of them have even more. Plus then you have wireless coms, wireless instrument pick ups, the two-way radios, all the wireless DMX and networking going on...
📝 Reply

Similar Threads

Thread / Thread Starter Replies / Views Last Post
replies: 6 views: 2219
Avatar for horncoppers
horncoppers 14th January 2008
replies: 221 views: 16727
Avatar for studer58
studer58 29th May 2021
replies: 2263 views: 38207
Avatar for MandoBastardo
MandoBastardo 28 minutes ago
Topic:
Post Reply

Welcome to the Gearspace Pro Audio Community!

Registration benefits include:
  • The ability to reply to and create new discussions
  • Access to members-only giveaways & competitions
  • Interact with VIP industry experts in our guest Q&As
  • Access to members-only sub forum discussions
  • Access to members-only Chat Room
  • Get INSTANT ACCESS to the world's best private pro audio Classifieds for only USD $20/year
  • Promote your eBay auctions and Reverb.com listings for free
  • Remove this message!
You need an account to post a reply. Create a username and password below and an account will be created and your post entered.


 
 
Slide to join now Processing…

Forum Jump
Forum Jump