audio setup for an indie feature

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filmmakermicah

New member
Hey team, wanted to run my setup ideas by the pros. We've got about $3K for sound and would like to squeeze it a bit if we can. Note that rental rates look high because it's for a 10 week shoot (weekends mostly). Here's what I've got penciled in:

2 boom setup
-Neumann 82 (we own)
-Neumann 82 (we rent) $350
-2 boom poles (from friends) $100
-2 zeppelins (from friends) $50
-3 Sennheiser G2s (we rent) $240
-ENG 44 4 channel mixer (we buy) $500
-sound recordist (already hired) $1200-$1500
-snake cable for return to mixer from camera (assume we want) $?
-expendables $75
-XLR (we own)

If this looks unusual, it's because we're going into the RED through the mixer. (Not dual system; I've been told RED is now 24 bit sound and camera is locked down always so few "tethering" issues.)

I'd love to hear impressions on the setup and/or how we could better use our money. Lavs are mostly for backup obviously. Anything missing? BTW, I'm the producer on the film and I have some sound experience and can talk shop a bit but am no pro.
 
1. Sound blankets.
2. Scout your locations for sound as well as picture.
3. Involve your location audio person right now. You should already be talking to them not us.
 
Got it. Our audio guy isn't on the shoot full time yet, and I'd like to get some broad opinions on our overall setup from different perspectives.

You always build the best kit, on your budget, to meet your needs. What are the weak links here? Where are we over or underspending? I know y'all have some gear thoughts-- hit me with 'em.

Yes we will scout our locs.
 
craigbowman said:
1. Sound blankets.
2. Scout your locations for sound as well as picture.
3. Involve your location audio person right now. You should already be talking to them not us.
Click to expand...

I'm gonna play the noob here and ask, what do you mean by scout your location for sound?
 
Listen. Make sure there's nothing you can't control that will ruin the take. Nearby construction, busy roads, whatever. Consider what it sounds like and how best to mic it before you get there for the shoot, including if you have to blanket anything. Otherwise you're leaving the sound guy to deal with an impossible situation without the right consideration.
 
Cassius said:
Listen. Make sure there's nothing you can't control that will ruin the take. Nearby construction, busy roads, whatever. Consider what it sounds like and how best to mic it before you get there for the shoot, including if you have to blanket anything. Otherwise you're leaving the sound guy to deal with an impossible situation without the right consideration.
Click to expand...
And then saddling your audio post person with trying to remove all of the sonic crap you could have avoided by scouting locations or sound.

One other thing about scouting for sound; check local schedules for events. We once had a "perfect" location both sonically and visually. Who knew there would be a Harley convention in town that weekend!
 
Cassius said:
Listen. Make sure there's nothing you can't control that will ruin the take. Nearby construction, busy roads, whatever. Consider what it sounds like and how best to mic it before you get there for the shoot, including if you have to blanket anything. Otherwise you're leaving the sound guy to deal with an impossible situation without the right consideration.
Click to expand...

Oh ok, that makes sense. Lesson learned!
 
Don't just listen. Record audio if possible on the day and the time you will probably be shooting. Then go home and listen to it REALLY LOUD.
 
Why do you need two shotguns/booms?

If your "sound guy" isn't full-time who is doing it the rest of the time? And how much experience does he have if he's willing to work for ten weeks for only $1,500? $1,500 is usually minimum pay for a week!

What about the boom-op?

Why the ENG 44? It only has two outputs. If you are recording the boom and two lavs they each need a separate track.

What lavs are you using with the G2s?

What about headphone distribution (sound mixer, boom-op & director)?

How are you going to monitor audio levels on the camera?


You may want to check out my blogs as a place to start some serious research.

http://blogs.myspace.com/index.cfm?fuseaction=blog.ListAll&friendId=111888913
 
Yes, that's great.. now all you need is someone that knows WTF they are doing, and will work for free because you are out of money.
 
Make sure whoever is dealing with Sound for your project is VERY careful working with the RED you have. This camera does have a great picture, but when recording sound directly to the camera, which you have said you are doing, it is going to be unforgiving at times. Even with the constant updates they are doing for hardware/firmware, it is not as good as other HD video cameras.

Just make sure that you guys watch the levels being recorded and everything should be fine.

Other than that, good choice on the equipment for your budget!

Good Luck!
 
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