sound recording in a car
rauldias
have place almoust all of the time in the car.
Do you have any sugestions/advices how to rig the mics? hiden and
personal mics. inside and outside the car.
And what kind of problems will i have?
Nad what can i do to resolve them?
Richard Crowley
These questions are frequently discussed here. A review of
the Google archives would be well worth the few seconds
of time it would take you to do a search on your questions.
fatfatjames
I heard some have luck with the sanken cub01... but that i do so far
is put a sanken cos11 on each of the sunshade of the car... but
depending on the angel and where the speaking people are sited?
Yush
the scenes:
Do you have a low loader or a lead/follow car and will the camera be
outside and shoot through the windshield?
Considering your suggestion of cos11s in the sunshades i presume both
actors will be in the front seats, and not in the rear.
Also, there will be a lot more noise to deal with if the windows are
down - and this is obviously affected by traffic conditions where
you'll be shooting.
Obviously, if the windows are meant to be up for the scene, but need
to be down for shoot purposes, it changes the sound as well!
Why not just wire the actors?
There are two things that keep coming back to haunt me on car shoots.
One is wireless range (depending on windows being up or down) and the
other is lights and gels and various other fixtures.
The wireless range seems to vary from car to car, depending on whether
the windows are up or down and the general chassis of the car itself.
Sometimes I can only get 15ft on a UCR411a in a car with the windows
up and that worries me. So if there is a lead car then i cable
instead, just to be safe - obviously this is also a case of the radio
txs being hidden on the actors, which lowers transmission strength
greatly.
If the lighting department gets gels or lights on the car, then that
is often my biggest worry. As you pick up speed the gels inevitably
start to pick up wind and rattle. Same goes for lights, make sure the
flanges on the lights are screwed tight or else they vibrate.
Both the sanken cub and schoeps collette sound great when windows are
rolled up, its a fairly boomy sound that you can get away with
though.
Yush
Niall O'Sullivan
>
> Both the sanken cub and schoeps collette sound great when windows are
> rolled up, its a fairly boomy sound that you can get away with
> though.
>
> Yush
moved ) hard wired to my 788t on the deck . I monitored from a follow
car on senn iem .
Soundhaspriority
"rauldias" <said...@gmail.com> wrote in message
news:3ccb9b7f-91dd-483b...@r15g2000prd.googlegroups.com...
I have used lavs, and found that they excluded the very noisy car (a VW
Golf) so much, I wished I had an ambient track to go along with it. Since
the view out the window is related to the noise the car is making, a wild
track will not do.
Bob Morein
(310) 237-6511
GripSound
I like the idea of the Cub, but I have never tried it so I have no
idea how it will sound. I HAVE used lavs mounted to the sunvisers and
WIRED to the recorder. Use wind protection on them if the windows
will be open. I ducked down behind the back seat to monitor things(it
was a small SUV). The sound was good, with good isolation of voices
from car sounds. Windows open or closed will change you ambient
sound, so discuss this with your director. Also, we had a very quiet
car and kept the speeds low to minimize wind and road noise into the
mics.
I also mounted a 416 on a shockmount right under the dash and aimed
between the actors. This added some interior ambience to the mix and
had enough side rejection to cut noise from the windows when they were
open. I have no idea how it was mixed, but post was very happy with
the sound I got.
brian
AdmNa...@adelphia.net
keep the mic out of the wind and you're golden.
Any decently sensitive lav should be fine.
rich
process trailer and some in the back of a black cab driven by the cab
driver. we used dpa 4063s with the boundary adapter.
http://www.dpamicrophones.com/module.php?MID=101&itemid=BLM6000-B&function=pdescription
on the process trailer they went to trx900 transmitters which were
recording as well, though thankfully i didnt hear of any drop outs
from the mixer so we didnt end up using the recording from the zaxcom.
in the cab we went hard wire using ambient eumel adapters and left the
recorder in the cab and checked playback once the cab did its route.
the mixer was very happy with what he was hearing from the dpa's
though we had the windows up so exterior noise wasnt an issue which
might have meant getting out the cubs.
hoppe557
I used a couple of Sanken Cub-01s on a shoot in a car that was moving
with windows up and parked with the windows down. They did a great
job and I didn't have to worry about clothing noise or seatbelts. I
mounted them to the roof of the car just inside the visor and got very
good sound.
I only had two actors and they were in the front seat.
Good luck.
Marc
David Waelder
ae892569-aa19-4bfd...@13g2000yql.googlegroups.com, "hoppe557"
<marc....@gmail.com> wrote:
> I used a couple of Sanken Cub-01s on a shoot in a car that was moving
> with windows up and parked with the windows down. They did a great
> job and I didn't have to worry about clothing noise or seatbelts. I
> mounted them to the roof of the car just inside the visor and got very
> good sound.
With dynamic situations like moving cars, it's best to have several plans of
attack because one will almost certainly become inoperative at some point.
With hand-held cameras from the backseat, a common approach on low budget
shows, I've had good results mounting the lav mikes directly to the seat
belts. Since the mike is on top of the belt, there is obviously no problem
with rubbing and the actor is unencumbered and able to exit at any time.
Of course, as soon as the camera comes around and starts to shoot through
the windshield or from the passenger seat toward the driver, you'll have to
rig something else.
David Waelder
rauldias
- Mostrar texto das mensagens anteriores -
Thank you all.
i hope to have a prep day the day before. where i can test diferent
methods.
i will have notes of yours recomendations. and i will definetly try
them out.
After my shoot and after i speak and see the sound and picture
together i will come back and give you a feed back of what happened.
Bill White
> I'm going to record inside and outside of a moving car. the film will
> Do you have any suggestions/advices how to rig the mics? hidden and
> personal mics. inside and outside the car.
> And what can I do to resolve them?
One thing you should be wary of is AIRCON rumble. Even if it's set to
FAN ONLY, you may suffer as the fans are usually centrifugal, or
squirrel-cage, types; the output of which pulsates at Very Low Frequency
(VLF). Even if the pulsations are sub-audible, the mike membrane will
move in sympathy with the VLF and any other sounds will be 'modulated'
by the VLF component.
It often sounds like a soft 'motor-boating' or putt-putt affect and
while low-cut filtering will help, it may not completely eradicate the
problem.
All the comments about external air buffeting noises are definitely
true, but these do not have on/off switches. The air-con fan does.
Suggest you try turning the air con fan off.
If the WX is too hot, ADR is always an option ;-)
Regards,
Bill White
Microphone Magic
http://microphonemagic.tv
