In Article , "p s"
wrote:
hi all,

i am recording on location a conversation in a meeting room whilst it is
being videoed (recording straight to audio track of the video). this video
will then be played back in a large hall on a big screen, at a loud volume.
i am toying with the idea of using a PZM mic mounted on the table in the
middle of the three people, out of camera shot, to record the audio track -
straight into the cameras XLR input. my other choice would be to use an
omni-directional mic on a boom stand of some sort but i have left it a
little late to sort this out.
does anybody know if the PZM will be a good choice? i will be doing some
post production on the audio track (noise gate, compression etc.)... if not
then can someone recommend a better solution.

thanks for your help


Know what, scratch my previous post. Just hire a sound person with the gear
and let them do it for you. By the time you rent the gear you need and
figure out how to get the most out of it, you'll still come out better
hiring a pro.

If you were in Baltimore and the shoot took four or hours or less (setup,
shoot, brakdown), I'd charge you $250-$300.

Regards,

Ty Ford

For Ty Ford V/O demos, audio services and equipment reviews,
click on http://www.jagunet.com/~tford

"Ty Ford" wrote in message
...
In Article , "p s"
wrote:
hi all,

i am recording on location a conversation in a meeting room whilst it is
being videoed (recording straight to audio track of the video). this
video
SNIP
does anybody know if the PZM will be a good choice? i will be doing some
post production on the audio track (noise gate, compression etc.)... if
not
then can someone recommend a better solution.

thanks for your help


Know what, scratch my previous post. Just hire a sound person with the
gear
and let them do it for you. By the time you rent the gear you need and
figure out how to get the most out of it, you'll still come out better
hiring a pro.

If you were in Baltimore and the shoot took four or hours or less (setup,
shoot, brakdown), I'd charge you $250-$300.

Regards,

Ty Ford

For Ty Ford V/O demos, audio services and equipment reviews,
click on http://www.jagunet.com/~tford

Ty's advice is right on. I recently had a shoot with four people around a
small conference table in a room that was not too bad accoustically, i.e.,
not too hollow sounding to the ear. In tests before the shoot I tried a PZM
because I had one available. NOT acceptable. I went with a professional
sound person. The result was broadcast professional, in the best sense;-)
The cost was not too much more than the cost of renting four lavs and an
auto-mixer, which would have been my other viable choice.

Steve King

In article , Dave Plowman
wrote:

There was a lovely post on uk.tech.broadcasting some time ago from a guy
asking how to recover crap sync sound from something shot on DigiBeta with
no sound man - they didn't have the budget. Luckily post was going to cost
several times that to put it right. ;-)

I have absolutely no problem with that from a financial point of view.

Unfortunately, it's pretty bad from the point of professional
satisfaction. Something badly miked and echoey is never going to sound
good, no matter what we do. Had one like that last week- a director staged
a reading of a feature script with a dozen actors in his living room. He
hired a "professional" who set up four mics around the room... mixed them
all at equal levels to a mono MiniDisc(!), and never touched the faders
during the performance. Echo, noise... and still some of the characters
were off mic.

I assumed this was just a reference MiniDisc, and asked for the DA8 or DVD
with each mic isolated. After a bunch of phone calls, they told me the MD
was the only recording that existed.

So despite a bunch of editing to make the performance flow nicely, it
still sounds awful.

--
Correct address is spell out the letter j, AT dplaydahtcom
Clio- and Emmy-winning sound design
Learn audio for video at www.dplay.com

In article ,
Buster Mudd wrote:
I only accept 8 hour minimum calls, though.

Four years ago I switched from an hourly rate to a day rate. There's
no minumum, a 2 hour gig costs you as much as an 8 hour gig. (Not
being a complete idiot, I do have a 10 hour maximum, after which I get
an additional hourly rate.) So I will happily accept 2 & 3 hour
gigs...and if I'm feeling audaciously cocky, I will book two in one
day! What was that Beatles song about "Eight Days A Week"

Yup - that's what I do too. If they want people they can use for an hour
or two when it suits them, they need to employ staff.

--
*Succeed, in spite of management *

Dave Plowman London SW 12
RIP Acorn