Professional Audio Setup
- Thread starter ministerfortson
- Start date
STEproductions
Member
I'm not as much of a regular around here, but to chyme in and cut the OP a break...
I think all he meant to get across was that he is from the audio world and wanted advice from those on the film production side of audio. I realize a few of his comments and questions were contradictory, but I don't doubt his background.
When he said he wanted a professional sound on $200, that of course was naive. But I doubt he meant he wanted professional film or TV production on that budget. I'm just assuming (and I may be wrong) that "good audio for an indie short shot in someone's house" would be a better way to describe his goal. If that is the case, there's no reason to not stretch your budget a tad further and get an H4n. You already have 2 shotguns, boom, cable, and headphones. I've considered the laptop option as well but it's just inconvenient. The Zoom, though it does have limitations, is wonderful for the price and will be perfect for what you described. I've seen several great shorts, in festivals and online, that were done with an H4n and Rode NTG2, or other shotgun.
Using this set up for a professional film or TV drama would be inadequate, but I'd say in your budget, it's the way to go. Hope that helps.
Scott
I think all he meant to get across was that he is from the audio world and wanted advice from those on the film production side of audio. I realize a few of his comments and questions were contradictory, but I don't doubt his background.
When he said he wanted a professional sound on $200, that of course was naive. But I doubt he meant he wanted professional film or TV production on that budget. I'm just assuming (and I may be wrong) that "good audio for an indie short shot in someone's house" would be a better way to describe his goal. If that is the case, there's no reason to not stretch your budget a tad further and get an H4n. You already have 2 shotguns, boom, cable, and headphones. I've considered the laptop option as well but it's just inconvenient. The Zoom, though it does have limitations, is wonderful for the price and will be perfect for what you described. I've seen several great shorts, in festivals and online, that were done with an H4n and Rode NTG2, or other shotgun.
Using this set up for a professional film or TV drama would be inadequate, but I'd say in your budget, it's the way to go. Hope that helps.
Scott
STEproductions
Member
What camera are you shooting on? I think this was suggested already, but if you have XLR ins on the camera that may be your best bet. Lots of features and shorts have been done with an HVX or similar camera using a shotgun right into the camera. You could maybe then use the $200 on better boom, wind protection, etc. Not sure if that's an option, just a thought!
Doc Bernard
Indie Arms Member
And.......he has a portable mixer. Believe it or not, people are trying to help the OP. His equipment, minus a recorder, is enough to get "decent" sound for something indie level. He could even use his laptop if it came down to it. So, he already has a complete signal chain. He was inquiring about an elusive, "magic bullet" type of equipment for his project that doesn't exist as a piece of gear. It exists in the form of a knowledgeable location engineer. Clipping is handled by the engineer setting his levels correctly, anticipating the loud signals, riding the fader like a surfboard, placing the mic properly, setting up the proper levels on the recorder to give a "safety track", etc.
Sure, he could upgrade what he has, but with $200 there isn't much he can upgrade (EDIT: I saw someone here at DVX selling an H4n for 175....bam, there's the perfect upgrade). No one was trying to be mean to the OP, they were trying to help him break a mentality of "gear over experience" as demonstrated with his comment about the RED, and "audio is audio". And that takes tough love. And if no one gave a rats hindquarters about him and his project, no one would have replied to him.
That's why everyone was telling him, "it's not equipment, it's experience", because he already has more gear than most people just starting out in location sound. And he could do an amazing job with that gear, if he had real location/set experience flying sound as the dedicated sound person.
Last edited:
ullanta
Veteran
Noiz, you ever hold something like the body of a Blue Bottle? That's a significant chunk of equipment... you could take out a tank with it!
prexdealer
Well-known member
BHPhoto has the Tascam DR 40 for about $156 shipped right now. It has phantom power, xlr inputs and can record a backup at a lower level in case the first recording clips. I ordered one the other night and am looking forward to checking it out.
Noiz2
Sound Ninja
Now if you really want to impress post a shot of you booming it!
Not significant in that it doesn't tell you anything about the capsule.
$200? It's very hard to take these types of posts seriously. :happy:
That wouldn't even cover expendables for the sound dept on a low budget two day commercial shoot.
Btw, sound setups for narrative film (and most commercials) are not "run and gun" style. They are typically cart based. Pros usually have a bag setup, too, or quick methodology to go low profile with a bag.
I would consider the bare minimum pro setup for a very low budget shoot to include a time code recorder (SD 702T is an excellent choice), time code slate, quality mic (Senn MKH series, Neumann KMR or Sanken CS - nothing less should be acceptable to the sound person nor the producers), an industry standard long carbon fiber or graphite boom pole (PSC, K-Tek or VDB) with complete Rycote shock mount and wind protection setup. In actuality, the bare minimum should also include a high end mixer, wireless radios and lav mics (wireless for boom, too), and wireless IFB. Most importantly is someone who knows how to utilize these basic tools, interact responsibly with the other depts and production, and who can record the best possible sound in the conditions and environments in which they shoot.
That wouldn't even cover expendables for the sound dept on a low budget two day commercial shoot.
Btw, sound setups for narrative film (and most commercials) are not "run and gun" style. They are typically cart based. Pros usually have a bag setup, too, or quick methodology to go low profile with a bag.
I would consider the bare minimum pro setup for a very low budget shoot to include a time code recorder (SD 702T is an excellent choice), time code slate, quality mic (Senn MKH series, Neumann KMR or Sanken CS - nothing less should be acceptable to the sound person nor the producers), an industry standard long carbon fiber or graphite boom pole (PSC, K-Tek or VDB) with complete Rycote shock mount and wind protection setup. In actuality, the bare minimum should also include a high end mixer, wireless radios and lav mics (wireless for boom, too), and wireless IFB. Most importantly is someone who knows how to utilize these basic tools, interact responsibly with the other depts and production, and who can record the best possible sound in the conditions and environments in which they shoot.
ullanta
Veteran
Remember the thread a while back where someone was arguing that old-school ribbon mics were the best things to use on set, and that they could be boomed?
Doc Bernard
Indie Arms Member
Nope. I am a firm believer that other departments should work well with the audio dept. Oh, and we should have our own trailer with a big coffee machine, massueses, a buffet table, the list goes on.........
rogar-BigGrin(DBG)Since we're on my dream train.........if the boom is in the shot, camera messed up.
Last edited: