Wireless Mics or Post Production

F

Fleants

New member
Hi everyone,

Right now I am at a crossroads, I am just starting my production company, trying to make my first short films, and overall just getting my act together. Most of my films are heavy improv based, and the one that I am gearing up for takes place in the woods. so my question to the forum is this-

Is it better to record the audio straight to the camcorder via a wireless mic system or should I take that money and buy a really good wired mic and redub the audio in Post Production?

your truly
Fleants

p.s. sorry if this topic has already been covered
 
I think he means use the wired to do the ADR with. Which begs the question - why not use the wired to gather production audio? (which I think is what Dave thought you were going to do)

Wireless is a headache and a last resort. ADR is a headache and a last resort. I wouldnt rely on either in a narrative unless I just had to and there was no other way. Take the money you'd spend on a wireless kit and buy a good boom. Take the rest of the money and talk a buddy (or a pro perhaps!) into operating said boom. Your life will be less stressful and your audio will sound much better.
 
If you're talking about ADR and dubbing all the dialog, then go with something cheap so your actors can follow along. You only need enough for them to hear and repeat the lines.

I recently worked on a heavy improv situation. It was a nightmare for sound, because some actors would come up with a very clever line (spontaneously) while they were 8 feet away from the mic. Even with a second boom it was tough. Cameras had a tough time staying in focus and keying in on certain actors when the timing changed, so we had to have a little talk with the Director and cast.

We found solutions through rehearsals, minor use of lavs, a third camera and a 50:1 shooting ratio. And longer work days.

The more the crew knows what is happening ahead of time, the better.

Oh...eventually, it was fun, too...

Good luck!:beer:
 
Jeff nailed it: ADR is a last resort. Moreover, completely replacing production sound with ADR will leave a big hole in the track that will require either foley coverage or a really clever effects editor.

Its easier and far cheaper to record good production sound than it is to record mediocre ADR and foley.
 
Definitly avoid ADR at all costs. BUT just because your production is clear does not mean you shouldn't do post-production. And to clear up something you implied in your question, ADR is not post. Well it is but only a small part. Many films, even ones where the cost isn't a factor, have little or no ADR. THey all have a lot of post audio work. If your not doing a documentary a "reality" show or a music video you should plan on some Foley and as much FX work as you can possibly afford. Everything you can do to polish the sound will feel like twice the money on the screen.
 
You guys are awesome.

I am really new to film. I have spent the last ten years doing theatre, so I know the story that I want to tell, but it's the language of film and Tech aspect that is really hard to get into. I just want to say that you have all been a great help.

Thanks a bunch. You ROCK!!!
 
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