I investigated low-budget movies with great audio

ShamrockFilms

ShamrockFilms

Well-known member
I found 2 ultra low-budget movies that I was REALLY impressed with the audio and emailed the directors to get in contact with their sound person to see what they used for audio. Here is what I came up with and quotes from one of the sound guy's email".


INDIE FILM 1
Sennheiser MKH-416
"Expect to pay at least $1000 for this mic, but it's worth every cent. I used it for both in and outdoors. If I had to go wireless I used the AKG PT81 for the transmitters and PR81 for the recievers. They run about $500 per set. If you have the cash to blow on wireless, then the mics to get are anything by Lectrosonics. They are the Ferrari's of wireless mics, but also come with a Ferrari price tag. If the Sennheiser is out of price range, I would recommend the AKG shotgun mics. Stay away from the Sennheiser ME66 and ME67, because they sound shrill and thin.

INDIE FILM 2
Audio Technica Deluxe Shotgun Microphone Kit
Kamesan KS342 4 Channel Field Mixer


I hope my investigation is useful to you.
 
Thanks for the research, though a quick search of the archives here would have brought you much the same results, with probably much less work overall. :-)

One correction though - you can easily pick up a used 416 for $600-700 (I actually got mine for $450). It will probably be T powered, but that is not a problem and does not effect the audio quality.

Phil
 
Keep in mind that "great sound" is 99% skill and 1% equipment. A great sound guy with $200 worth of equipment will give you a much better result than "anyone willing to work for slice of pizza" holding a super-expensive mic that you bought.
 
ullanta said:
A great sound guy with $200 worth of equipment will give you a much better result than "anyone willing to work for slice of pizza" holding a super-expensive mic that you bought.
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A good point, although you may have trouble finding a seasoned pro willing to work with only $200 worth of gear.
 
Oleg, cables can be borrowed or stolen!

No, really, on a number of occasions when I've worked as a shooter, I've ended up fixing sound. The earlier "sound guy" had advertised his pricey equipment and provided trash. I was able (not having brought my sound equipment) to scrounge up enough stuff from the environment (cables and dynamic mics from a nearby church, various things to use as baffles, etc) to record at least reasonably useful material. I've seen too many people buy their own pricey equipment, rather than hire competent people, only to place the equipment into the hands of whoever was around. Oleg, with a $200 budget, I'm sure you could figure a way to get better sound than someone's reluctant brother or girlfriend pressed into service with a truckful of equipment. Aren't you?
 
SMuir said:
A good point, although you may have trouble finding a seasoned pro willing to work with only $200 worth of gear.
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I don't know that "willing" is the issue. Part of my point is that things go wrong. More things go wrong when people are inexperienced, and more things get fixed when people are more experienced. A good recordist knows how to get the most out of whatever s/he has to work with - especially when unexpected problems/situations develop.

anyway, a seasoned pro will likely have his own gear, likely very good gear !
 
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OK, OK, I'm totally wrong... just buy either a Sennheiser MKH-416 or an Audio Technica Deluxe Shotgun Microphone Kit and you are guaranteed great sound!
 
One major factor to take into consideration when listening to a finished movie is post production sound. Having worked in post on quite a number of network shows and features I can tell you that a lot of it is "fixed in post". It does make a big difference to start with good quality production sound, as it then makes it easier in post to really polish it and get that rich, full sound you are used to hearing in the theaters.
 
ullanta said:
OK, OK, I'm totally wrong... just buy either a Sennheiser MKH-416 or an Audio Technica Deluxe Shotgun Microphone Kit and you are guaranteed great sound!
Click to expand...
I don't think anyone's arguing that expensive gear automatically equals a good dialogue track.

However, its missleading to say that $200 will result in good sound provided you have a good production sound recordist.

For one thing, $35 can get you a great sound kit, provided you only need it for a day. Also, even if you're able to borrow the gear, your still using up valuable good will. One way or another, good sound requires an investment.

Opperator skill and experience are critically important to the quality of an audio track, but so are the tools you use. Knowing what tools are needed for the job is a big part of recording, and the job doesn't suddenly become easier just because there's less money in the budget.
 
SMuir said:
However, its missleading to say that $200 will result in good sound provided you have a good production sound recordist.
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Hmmm... I don't think I said that... certainly didn't mean it. I meant to say, "experienced sound guy even with lesser equipment" should be preferable to "inexperienced sound guy with even the best of equipment"... maybe I've run into more total incompetents who don't know what clipping sounds like, who manage to bypass the suspension properties of a shockmount, who don't think wind protection is necessary, who point mics the wrong way, who forget essential cables, or who don't know where to BEGIN troubleshooting when all doesn't go well...

but, really, my main point is, unless you are the sound guy, you're likely better off working with someone who has experience AND their own equipment than worrying what mics to buy to get "great sound". Think, rather, "who can I work with that will get me great sound."
 
I've heard enough of these equipment vs. skill posts. Let me tell you something, sound recording is a science, BUT it's NOT rocket science. Getting someone who actually gives a crap about your production sound (either because you're paying him, or he's someone trying to learn and is passionate about the craft) and you will not go wrong. There is no shortage of people interested in audio in this day and age, and if you're making a low budget movie, find someone you can work with, who WANTS to learn. And give them the opportunity to learn. Tell them to read Jay Rose's book, and make sure you read it yourself. IF you want to produce successfully, you need to have a good understanding of everyone's job on the film, even if there are technical limitations to what you can do yourself.
 
Agree with you there Flea. Camera work, lighting, audio, even directing ain't that difficult and can be done adequately with just a little knowledge and practice. The biggest thing expereince gets you is the ability to do it faster. I make my money because my clients know that I along with the other crew will get things done well in as fast and effeicient manner as possible.

As per my sig; if you have the time, you can get it done good and cheap...if you want it fast its gonna cost you or its gonna suck. Super low budget indy films tend to have more time on their hands then money, if they know how to use that time wisely they can get a good production.

Cheers
 
MKH-416 is not an indoor mic. It catches reverb and sounds horrible. I know because I have one. You need a hypercardioid mic like a Rode NT-2 for indoor work.

frankly I wish I had two NT-2's instead of the MKH, as the rode works well in both situations.
 
funkbomb said:
MKH-416 is not an indoor mic. It catches reverb and sounds horrible. I know because I have one. You need a hypercardioid mic like a Rode NT-2 for indoor work.

frankly I wish I had two NT-2's instead of the MKH, as the rode works well in both situations.
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I´ll trade your 416 against an NT-2 anytime :evil:
And if you meant the NT"G"-2 even the better, just PM me hehehe :beer:
 
funkbomb said:
MKH-416 is not an indoor mic. It catches reverb and sounds horrible. I know because I have one. You need a hypercardioid mic like a Rode NT-2 for indoor work.

frankly I wish I had two NT-2's instead of the MKH, as the rode works well in both situations.
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The Rhode NT-2 is good for outdoor audio too?

Is there a microphone kit that has attachments so you can use it both indoor and outdoor for dialogue?

The way I figure it is Robert Rodriquez shot El Marchi on a Radio Shack microphone. Look how successful that movie was!? I mean, yeah, they fixed it in post I am sure, but he used a RADIO SHACK microphone for the entire movie, exterior and interior.
 
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