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That hollywood voice


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I been watching so many short film and have noticed that lots of them use sounds captured on set by the camera or microphone f some sort and that just takes me right out of the film. because it does not sound right. I know that sound fx like footsteps and so on are done in post but is it same for voice do they capture voice ob set then they do one more final pass in the studio?

 

Below is the example what i mean by nice crisp voice

 

Thanks guys

 

 

 

 

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Either way, you dont need an expensive mic. Whats important is to keep it close and get your background noise in order.

In the video bellow they try lots of mics, cheap as chips and very expensive. Keeping them close in a booth and the difference is minimal.

I suggest all that are new to audio to watch this. 

 

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Step 1: Buy this book: https://www.amazon.com/Location-Sound-Bible-Record-Professional/dp/1615931201/
Step 2: Read that book. 
Step 3: Practice what you learned, over and over again, at any chance you can. 
Step 4: Go back to Step 2.

(somewhere early on this process you'll also get sucked into a nasty GAS cycle as well... just like with cameras! As you can see with my own personal sound gear list: http://ironfilm.co.nz/sound/ )

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Yup, of course the Oktava MK-012 is for indoors. When I first used it... WOW! But of course I'd only had experience with low grade equipment, and/or shotguns. 

Yes you do need to be careful with handling noise, but using the Rycote Lyre Shockmount  in the new Rode Blimp helps heaps. 

Currently the Oktava MK-012 (and the Sennheiser G3 units, but they're only extras for when I need a *LOT* of wireless) is the only item in that gear list which I don't own myself. But it is from a very good mate who lives just around the corner, isn't a specialist soundie himself (so it probably would be available at short notice), and has been happy to lend it to me for a free/low rate :) Thus I included it in my own gear list!

My short term gear upgrades are (in roughly this order): 

Saramonic UwMic10 (I'll start with one, test it out in use thoroughly, then likely order more if it passes with flying colors)

Saramonic UwMic9 + TX-XLR9

Oscar SoundTech lavs (heaps! Want more than one per wireless unit) + lav accessories 

Aputure D3

Extra boom pole (my current pole is a carbon fibre one that is "only" 3m long, I want a 5m one for when I need the extra reach, plus as a backup pole)

Audix SCX1-HC or Audio-Technica AT4053b as the upgrade from the Oktava (need to do more research on this to decide which one of the two, ideally get my hands on them personally to try out first)

Zoom F4 or F8 (although the F4 is "underneath" the F8, it is also in some ways a subtle improvement upon the F8, plus it is cheaper! So tricky to say which of the F4 or F8 I'll pick)

Sanken CS-3e or I dunno.. some similar-ish high end one to replace/supplement my NTG2/D3/ME66 (but I've been suitably impressed by what I've heard with tests done with the Sanken CS-3e).

Rycote Cyclone Windshield.

Am not counting the various little minor accessories (such as hush heels, or top stick), the many many batteries, and various assortment of extra cables, that I'll also be always picking up along the way and buying!

By this point in time it will be late 2017 or even 2018 (or later! Depends on how my fledging sound career goes), and I'll be looking into getting a smart slate, Tentacle Sync, Lectrosonics (and then my Sony UWD-P etc will be downgraded to IFBs), sound cart, Sound Devices 633, etc etc

 

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Oh, forgot to include in my list of "things I want to get" the new Saramonic plug in XLR recorder  (hopefully like the Tascam DR10 but cheaper?!). If the reviews are good! No real concrete info is out about it yet.

 

Not sure exactly where I'd place it in terms of priorities,  depends on price too, perhaps in the first half of the list.

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Yeah, but switching between boom and lav can be a little tricky as they could sound different. But is better to have the option than not have the option. 

Indeed quite a few productions will have everyone lav'd up plus a couple of boom ops!

But sadly sound is often treated badly, so while camera + G&E might have 3, 4, 6, 8+ people...  the poor sound department has one person who is booming and recording it at once!

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9 hours ago, Jonesy Jones said:

Something that hasn't been mentioned is that many productions use 2 or more mics. Usually at least 1 boom (and sometimes 2 to phase out unwanted audio) and then a hidden lav for each actor. Using this method gives them options for getting close proximity audio.

This is true. The guy that I work with uses 3. A boom, lav, and another directional mic with gain turned down in case someone spontaneously yells or talks too loud on one word or sentence

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1 hour ago, AaronChicago said:

This is true. The guy that I work with uses 3. A boom, lav, and another directional mic with gain turned down in case someone spontaneously yells or talks too loud on one word or sentence

I thought that a decent set of limiters would manage that. But I suppose not all limiters are created equal and even limiters have their limits. 

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6 minutes ago, Richard Bugg said:

I thought that a decent set of limiters would manage that. But I suppose not all limiters are created equal and even limiters have their limits. 

As far as levels go yeah the limiter helps. Im no expert but from what I've heard in samples it doesn't sound as natural. Of course in a pinch I would definitely use a limiter.

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