Again, thanks Alex H, Noiz2, Rippie and Doc. I have learned from your posts and been reminded of things forgotten. Thanks for the side comments too. Helped on a shoot this past weekend.
Uniformly great advice --- keep it simple and mono while shooting. Funny how a person shooting alone needs to be reminded to keep it simple.
Yes, I will be doing this alone as I am traveling in a van and because the intimacy of the interviews is best served with an audience of one.
It is a bit tricky by myself. That's why I started with less equipment and am now adding more. I'm now adding a second camera and will get my two KMR 81i mics on stands with boom poles.
Decisions ---
a) Record mono, not stereo, while shooting everything. Leave the rare situation alone, keep it simple.
b) Record stereo for ambient sound beds after shooting, when I can focus on just that.
c) SD MixPre-D (for the great pre-amps, low noise, MS matrix decoder)
d) Tascam HD-P2 (for the clearer interface and controls)
e) Rode Blimp, it's much better than the foam and cat I have.
f) Sony 7506 MDR headphones so I can hear better than the headphones I've got
g) Not going to venture into lavs. I'll focus on potential dialog in B-roll shots and Foley later, or set up both Neumanns to get voice and fx.
Am back to debating MS vs. XY stereo. The reasons I thought to record MS proved to be wrong. So, I have more questions ---
1) This film is about transformative moments. Does either MS or XY provide an easier way to create an aural "altered state" in post? Can the mix of the Mid and Side be shifted during a ProTools timeline to alter the "size" of the room as an effect? Any other ideas to create an aural "transformative moment?"
2) Does anyone know a site where I could listen to the difference between MS and XY?
3) But I can set levels with the decoded stereo MS before recording the MS as non-matrixed signals, yes?
4) Doesn't it keep my options open to record the MS as non-matrixed signals?
5) If I go MS, I'd get the Shure VP88 ($689).
6) What XY mic would you all recommend?
As before, i welcome any ideas and suggestions, especially when you catch my blindspots.
Thanks for your generosity.
Uniformly great advice --- keep it simple and mono while shooting. Funny how a person shooting alone needs to be reminded to keep it simple.
Yes, I will be doing this alone as I am traveling in a van and because the intimacy of the interviews is best served with an audience of one.
It is a bit tricky by myself. That's why I started with less equipment and am now adding more. I'm now adding a second camera and will get my two KMR 81i mics on stands with boom poles.
Decisions ---
a) Record mono, not stereo, while shooting everything. Leave the rare situation alone, keep it simple.
b) Record stereo for ambient sound beds after shooting, when I can focus on just that.
c) SD MixPre-D (for the great pre-amps, low noise, MS matrix decoder)
d) Tascam HD-P2 (for the clearer interface and controls)
e) Rode Blimp, it's much better than the foam and cat I have.
f) Sony 7506 MDR headphones so I can hear better than the headphones I've got
g) Not going to venture into lavs. I'll focus on potential dialog in B-roll shots and Foley later, or set up both Neumanns to get voice and fx.
Am back to debating MS vs. XY stereo. The reasons I thought to record MS proved to be wrong. So, I have more questions ---
1) This film is about transformative moments. Does either MS or XY provide an easier way to create an aural "altered state" in post? Can the mix of the Mid and Side be shifted during a ProTools timeline to alter the "size" of the room as an effect? Any other ideas to create an aural "transformative moment?"
2) Does anyone know a site where I could listen to the difference between MS and XY?
3) But I can set levels with the decoded stereo MS before recording the MS as non-matrixed signals, yes?
4) Doesn't it keep my options open to record the MS as non-matrixed signals?
5) If I go MS, I'd get the Shure VP88 ($689).
6) What XY mic would you all recommend?
As before, i welcome any ideas and suggestions, especially when you catch my blindspots.
Thanks for your generosity.
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