Steve House |
December 19th, 2010 08:55 AM |
Quote:
Originally Posted by Robert Bridgens
(Post 1599803)
Thanks for the help Steve. Unfortunately I am not working with talent (that why i named them as subjects rather than actors lol).
I work with re-enactors and i unfortunately have no way of recording each pyro seperately. ( the whole thing will be one take documentary style) I will probably dub some explosive effects at a later point or something. However it works it will never be anywhere near feature film quality! :lol:
I think ( but i am not sure) the zoom separates the L/R files for each track anyway - however i didn't realise you needed to do this for post, so thanks. I have a lot to learn! ( i also have aspirations above my skill and available equipment/budget right now!)
Edit: Im not sure if it makes a difference to what you were saying about dual recording but i will have the zoom attached to the boom operator and the shotgun mic at the end of a 10ft boom, so the audio should be different?
Thanks for that Erik - i didn't realise the zoom had 1/4 inputs!
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See my other post about the 1/4 input issues. Even if you can't set up the explosions to record later, I think it is a mistake to try to capture them with the Zoom's internal mics on two channels while recording dialog on the same recorder on the other two channels. I'd suggest renting or borrowing a second audio recorder and setting it up to the record the explosions as best you can, by placing it, and thus its mics, in the best position you can manage to capture the explosions, while recording dialog with the other recorder located with the boom operator. Assemble them in post. The mics on the recorder slung off of the boom oeprator are not going to be optimally placed to record the explosions anyway and even more importantly, he's going to be moving around and those internal mics are going to be picking up all sorts of thumps, bumps, and clothing rustles of handling noise as the recorder bounces against him as he follows the action. The internal mics need to have the recorder stationary, preferrably on a stand, and untouched during the take in order for the recording to be clear of handling noise.
The reason you separate left and right in post is you usually record dialog in mono, NOT stereo, and position the resulting track in the centre, ie sent equally to the left and right channels, when you do the final audio mixdown. If you try to record dialog stereo the voice will wander all over the sound field as the character and the mic move about. Think how confusing it would be to the audience for the character to be on the right hand side of the screen but their voice is coming mainly out of the left hand speaker! That can happen easily if you try to record the scene in stereo on location. With the Videomic you already have its mono signal recorded to both left and right channels but you have an easier go in editing and mixing dealing with a single mono track. Most of the time a single mono track is the way it's been recorded on-set but if you have two identical channels in a stereo track, you would get it to a mono track for editing by splitting the stereo track into two identical mono tracks and discarding one of them.
I haven't seen him around lately but perhaps fellow forum member Dan Keaton will see these posts and chime in. He has considerable experience recording sound for theatrical productions featuring American Civil War reenactments and perhaps he would offer some specifc advice on techniques that he's found that produce the best results.
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