Here’s a commercial I recently did sound on called Innovate Montana.
The question I am asked the most is something like “I have $2,000 and I need a sound kit. What can I get?” The answer is of course, nothing. But for just under $6,000 you could get a barely adequate package
What I own and totally recommend:
If you are serious about audio, please do not compromise here. Buy the good stuff. This is not where you want to save money because it effects everything in the audio chain. Read More
Three years ago, I started grad school at The University of Montana. On Saturday, May 12th, I received my MFA in digital film making from the school of Media Arts, College of Visual and Performing Arts. Although production audio is my main love and specialty, my experiences writing, directing, producing and just making movies really help my understanding of the “big picture” of film making.
I worked an interview/doc type shoot today and when I got home, my wife asked me who was interviewed. I told her and she asked my if he was interesting. I told her I really didn’t know. I didn’t know because I was listening with my sound man ears, not my director or producer ears.
If I actually listened to what was being said I might be distracted by an interesting statement and not notice things I should be listening for such as background noise, conversations, cars, air handlers, airplanes, trains, etc. I wouldn’t be doing my job.
One of the most basic things a sound mixer has to do, obviously, is listen but it is very important to know HOW to listen and what to listen for. A huge part of listening correctly means NOT listening to what someone is actually saying. That’s someone else’s job.
I have been doing so many shoots on DSLR’s these days that it has been a couple of years since I recorded directly to camera. I just got back from working on a doc in Helena, MT for the Veteran’s Administration. The story followed an Army Guard member who had a hip replacement through a new VA program that allowed her to receive physical therapy through local private practitioners rather than having to drive hundreds of miles to a VA hospital. She was a fire fighter and did physical work, so the program gave her her life back. But I digress..
We shot on a Panasonic AF-100 and I got to use my remote audio breakaway cable for the first time. The AF-100 has a few quirks that could have caused some problems for sound. First, the level meter in the view finder has two markers, neither labeled, one at 0 dBfs and another one that looks like it should be -20 dBfs but upon reading the manual, I learned it was -12 dBfs.
By default, the AF-100 records to an AC3 compressed audio format. That needs to be changed to LPCM (Linear PCM, uncompressed) and the Automatic Gain Control, called ALC in the menus needs to be turned off. The input switches are self explanatory.
The headphone amplifier is pretty weak and it was very difficult to get a signal back on my breakaway cable with enough gain. I cranked my return A level as high as possible on my Sound Devices 442 and it was still pretty hard to hear.
I still recorded to second system just in case they needed iso tracks later, as I both boomed and ran a lav on the interviews. All in all, it was a fun little shoot, great people and they had the camera video and audio outputting to a device called a Nanoflash that was interesting. It actually upgrades the video and audio quality as it records everything uncompressed.
Recently I had the good fortune to be one-half of the sound department on the feature film, Winter in the Blood, written and directed by Alex and Andrew Smith of The Slaughter Rule fame. This adaptation of the James Welch novel of the same name was shot on location in Montana.
I haven’t blogged much about the experience or what I learned because I have been waiting for the release of the movie, but I kept a daily journal that I will revisit soon. This was my first feature film and I made some rookie mistakes, got my ass kicked physically and mentally and came out a far better sound guy and in much better shape. I learned a lot about making features and about being part of an incredible family, a film making crew. I know that I can now walk on any film set and be confident that I know what to do and how to act.
Tomorrow I am on a panel at the Big Sky Documentary Film Festival in Missoula to discuss my experience on the film as part of a doc on the “making of” Winter in the Blood called Visionary Insight. Just before that we are scheduled to do some ADR with one of the actors in my home studio. Winter in the Blood has opened some doors for me, no doubt.
Guess who I am in the following picture from the set. Hint: follow the boom.
I got this email the other day:
My name is XXX. I’m close friends with ZZZ.
This coming Saturday I’ll be shooting a short interview/PSA .
They referred me to you in regards to renting or borrowing a mic for my 5D Mark II.
Is that something you might be able to help with?
I tried to explain that a 5D is not capable of recording professional quality audio and that in order to get good sound you need a second system or better yet, you need to hire a sound person:
I believe the 5D has a 3.5 mm, tip-ring-sleeve jack that accepts mic-level signals from external sources. My mics are all XLR and require phantom power so they will not work with a 5D. With a 5D or a 7D or really any DSLR camera you need to have second system sound to get good audio. That means you need a mic and a separate recorder at a minimum.
Of course they don’t want to hear that their camera is a piece of shit when it comes to recording audio, because everyone knows that audio is simple, right? They don’t get that their camera costs less than one Lectro system or a couple of microphones and you need to know what you are doing to use it. So needless to say, my advice was not appreciated:
Thank you for the information.
I’ll keep searching for a 5d solution.
Ouch, that was a little bit cold. I guess this person isn’t listening to me or just doesn’t like what I am saying. It’s true, though. You need a second system, there is no such thing as a 5D solution. Why ask for an expert’s opinion if you aren’t going to listen to that opinion?
I actually felt bad so I looked around the Internet and found an article where someone uses a Sound Devices 302 and a Zoom to record to a 5D.
They make it work by turning off the AGC, overriding the pre-amps on the 5D and sending a line level signal from the 302. It actually does record to the 5D with the levels set to one click above off. You still can’t monitor levels and the article clearly states that you need a back up system, hence the Zoom and very clearly discusses the limitations of the 5D. I was hoping the person might actually read it and maybe they would believe it sonce another photographer wrote it and possibly realize, “hey…maybe I should think about hiring a sound person….I guess it might be more complex then I thought…”
So I get back:
I was able to pin down another option through a friend and colleague of mine XXX. You
Might(sic) know him, he’s in XXX’s circle as well. A great photographer too.
Turns out he has a setup for the 5D that he’s willing to loan.
Thank you for the links and information.
Probably a battery powered microphone with a 1/8th inch jack. Good luck with that, XXX, I am sure your client will be happy when the hiss from the microphone drowns out the interview dialog. I’m sure you can fix it in post. I just can’t help you if you won’t listen. I’m glad we are at warm regards rather than cheers, though.
Last night we we had our principal photography wrap party for Sea Glass, my thesis film made in collaboration with my partners, writer/director Caitlin Hofmeister and producer/production designer, Jeri Rafter. I was producer, sound mixer, production accountant and am the principal editor and sound designer for the movie.
This short film represents a paradigm shift for the University of Montana’s MFA program. Though not the first film made collaboratively, it is the first time that three grad students had such well defined and differing roles in a thesis project. Because of our work together in 2011 on Winter in the Blood, we knew that we could work well together and all make large contributions creatively without stepping on each others toes. It took some discussion with our professors to convince them that our partnership would actually result in all of us being freed up to work even harder and be more creative and would result in a much higher quality film than three separate “magnum opi”. The best argument? This is how movies are really made.
I am truly proud of all aspects of the film. We did things right. We took the time to find great locations, fantastic actors and raise money to rent HMI’s. We took the time during production to get great performances. I took time to make sure the audio is as good as possible (of course). We had a talented and dedicated cast and crew. Time will tell, but I feel like this film is going to be special. The showcase will be May 10th, 2012.
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