robotjustin
Member
Hi Guys
I've been sifting through the archives, looking for a good audio solution for an upcoming doc I'm producing/shooting in Haiti.
I'm travelling with a single, trusted crew member (we've worked together almost ten years) but this is my first verite, in-the-field, no chance of running back to the studio or rental house for more stuff, kind of shoot. It'll be approximately two weeks.
Here are my requirements, and hoping you all can help fill me in. I'm also considering renting the gear, but as this is going to be my second feature-length doc (the first will be premiering at the MOMA in September) I might as well start getting the audio package rolling.
Anyway -
1. Absolutely must have broadcast/film theatre sound quality. My assistant is an experienced film audio guy, and has worked with me on nearly a hundred shoots, but we typically rent simple audio packages relevant to corporate video-type applications. The feature doc I just finished was done mostly on a nice set of wireless lavs whose name I can't remember, but besides a few battery fiascos, the sound was good.
2. The conditions of the shoot will be harsh, verite-style, quick setup- quick escape. I'm used to shooting as a one-man crew, but since we're going to be following orphans through potentially dangerous conditions (we are hiring a guide/interpretor, and for more dangerous situations, may be able to tag along with US Army convoys) but want to be able to track the sound as best we can. Interviews will be shot more verite-style, as well, as I'd like to avoid the talking head (check out my talking head reel at mutationengine.com/reels for what I want to avoid from myself!) style that I've grown accustomed to. So, we'll be trailing these kids and talking with them "in the mix."
So, I'm thinking of either a wireless lav or wireless boom or both setup. But something that will be able to withstand the walking, handling, moving.
3. Here's what I'm considering so far, in interests of keeping budget down and quality high.
- The Sound Devices 302, hooked to a wireless transmitter, with the receiver velcroed to my DVX 100a. With a question - will my sound man be able to monitor the levels independently, or will he need to monitor from the DVX? I didn't use a field mixer on my last doc, except for a few times (and old Shure 4 channel in, one mono out thing) and I always had trouble with it. Seemed like I had to keep the levels incredibly low on the mixer not to peak the DVX.
- the AKG modular mic system, with a shotgun and hypercardoid cap. Will this address my broadcast quality concerns, as well as practical/tactical concerns? Or do I need to bump up to Sennheiser MHK-416 or better? (In which case I will rent, but would love to, of course, own something of my own.)
- wireless transmitter, receiver. For my normal life, this isn't something that I particularly need, and mostly would prefer a hard wire. However, in this situation I'd prefer wireless. However, I'm not against buying a system if there is a reasonable ($500 buck) range combo. If not, I'd like to get an idea of the best rental. I know that this is subjective, but I'm assuming that RF interference will not be so dominant in Haiti, although I could be completely wrong. This is the segment I am the most unsure about.
- Boom Pole - $800!!! For a boom pole! Another rental, I fear. Specially when I return to talking head land. But before I do, going with the wireless setup, any suggestions for a cheaper purchase or a better rental appreciated.
- Additional gear. Hand-held mount for the shotgun, etc. I know there are a million, and if I could ask the Elders recommend based on the needs of this production. If it's been done too many times, I agree, as well. And I read the one about needing to have a message addressed to you in order to be validated, and I agree. We're all a little afraid sometimes!
Thanks, and sorry for the long post.
Justin
I've been sifting through the archives, looking for a good audio solution for an upcoming doc I'm producing/shooting in Haiti.
I'm travelling with a single, trusted crew member (we've worked together almost ten years) but this is my first verite, in-the-field, no chance of running back to the studio or rental house for more stuff, kind of shoot. It'll be approximately two weeks.
Here are my requirements, and hoping you all can help fill me in. I'm also considering renting the gear, but as this is going to be my second feature-length doc (the first will be premiering at the MOMA in September) I might as well start getting the audio package rolling.
Anyway -
1. Absolutely must have broadcast/film theatre sound quality. My assistant is an experienced film audio guy, and has worked with me on nearly a hundred shoots, but we typically rent simple audio packages relevant to corporate video-type applications. The feature doc I just finished was done mostly on a nice set of wireless lavs whose name I can't remember, but besides a few battery fiascos, the sound was good.
2. The conditions of the shoot will be harsh, verite-style, quick setup- quick escape. I'm used to shooting as a one-man crew, but since we're going to be following orphans through potentially dangerous conditions (we are hiring a guide/interpretor, and for more dangerous situations, may be able to tag along with US Army convoys) but want to be able to track the sound as best we can. Interviews will be shot more verite-style, as well, as I'd like to avoid the talking head (check out my talking head reel at mutationengine.com/reels for what I want to avoid from myself!) style that I've grown accustomed to. So, we'll be trailing these kids and talking with them "in the mix."
So, I'm thinking of either a wireless lav or wireless boom or both setup. But something that will be able to withstand the walking, handling, moving.
3. Here's what I'm considering so far, in interests of keeping budget down and quality high.
- The Sound Devices 302, hooked to a wireless transmitter, with the receiver velcroed to my DVX 100a. With a question - will my sound man be able to monitor the levels independently, or will he need to monitor from the DVX? I didn't use a field mixer on my last doc, except for a few times (and old Shure 4 channel in, one mono out thing) and I always had trouble with it. Seemed like I had to keep the levels incredibly low on the mixer not to peak the DVX.
- the AKG modular mic system, with a shotgun and hypercardoid cap. Will this address my broadcast quality concerns, as well as practical/tactical concerns? Or do I need to bump up to Sennheiser MHK-416 or better? (In which case I will rent, but would love to, of course, own something of my own.)
- wireless transmitter, receiver. For my normal life, this isn't something that I particularly need, and mostly would prefer a hard wire. However, in this situation I'd prefer wireless. However, I'm not against buying a system if there is a reasonable ($500 buck) range combo. If not, I'd like to get an idea of the best rental. I know that this is subjective, but I'm assuming that RF interference will not be so dominant in Haiti, although I could be completely wrong. This is the segment I am the most unsure about.
- Boom Pole - $800!!! For a boom pole! Another rental, I fear. Specially when I return to talking head land. But before I do, going with the wireless setup, any suggestions for a cheaper purchase or a better rental appreciated.
- Additional gear. Hand-held mount for the shotgun, etc. I know there are a million, and if I could ask the Elders recommend based on the needs of this production. If it's been done too many times, I agree, as well. And I read the one about needing to have a message addressed to you in order to be validated, and I agree. We're all a little afraid sometimes!
Thanks, and sorry for the long post.
Justin
