Recording Dialogue On-Set: A conversation

Sacha Rosen · December 21st, 2010, 11:50 PM

label it as wild sound we start with 1000, 1001,1002, depending on what the script supervisor wants. also verbal i.d as wild sound for scene whatever "having tea"

Brian Drysdale · December 22nd, 2010, 03:11 AM

Sound recordists commonly use the same mic as they're using on the boom for wild effects, unless they're using radio mics or lavalier mics (these aren't used for effects). They're often under time pressures, so the boom mic tends to get used unless it's a more specialised sound effect.

Room tones and atmosphere tracks are commonly recorded in stereo.

Josh Bass · December 22nd, 2010, 03:42 AM

I think someone mentioned logging/slating these wild sounds without a slate, i.e. not enough people to properly slate on cam. An easy trick is to shoot the mic during these wild sounds. Even better, shoot the objects making the sound.

Jon Fairhurst · December 22nd, 2010, 11:22 AM

In general, I'd use the same mic in the same space. A hyper is good indoors while a shotgun is good outdoors. You could also use a large diaphragm condenser indoors. A Rode NT1A is a great choice if the levels aren't too high. It has an extremely low noise floor, which is perfect for recording foley sounds. And with a cardioid pattern, you can get it closer to the source. Of course, when the sounds are recorded close, the mixer will need to add reverb to put the object into the space.

Here's a video where I recorded a quiet foley sound with the NT1A to compare recorders:

Miggy Sanchez · December 24th, 2010, 02:51 AM

Great video Jon. Very slick, in the best possible sense of that description. I really liked the music.
Thanks for the link; amazing to know what's 'out there'!

Mig

December 22nd, 2010, 03:11 AM	#17
Brian Drysdale Inner Circle Join Date: Feb 2006 Location: Belfast, UK Posts: 6,152	Sound recordists commonly use the same mic as they're using on the boom for wild effects, unless they're using radio mics or lavalier mics (these aren't used for effects). They're often under time pressures, so the boom mic tends to get used unless it's a more specialised sound effect. Room tones and atmosphere tracks are commonly recorded in stereo. Last edited by Brian Drysdale; December 22nd, 2010 at 06:00 AM.

December 22nd, 2010, 03:42 AM	#18
Josh Bass Slash Rules! Join Date: Apr 2002 Location: Houston, Texas Posts: 5,472	I think someone mentioned logging/slating these wild sounds without a slate, i.e. not enough people to properly slate on cam. An easy trick is to shoot the mic during these wild sounds. Even better, shoot the objects making the sound. __________________ The Bass' camerawork The Bass on IMDB

December 22nd, 2010, 11:22 AM	#19
Jon Fairhurst Inner Circle Join Date: May 2006 Location: Camas, WA, USA Posts: 5,513	In general, I'd use the same mic in the same space. A hyper is good indoors while a shotgun is good outdoors. You could also use a large diaphragm condenser indoors. A Rode NT1A is a great choice if the levels aren't too high. It has an extremely low noise floor, which is perfect for recording foley sounds. And with a cardioid pattern, you can get it closer to the source. Of course, when the sounds are recorded close, the mixer will need to add reverb to put the object into the space. Here's a video where I recorded a quiet foley sound with the NT1A to compare recorders: 4. Canon 5D Mark II Audio Exposed - Foley on Vimeo __________________ Jon Fairhurst

December 21st, 2010, 11:50 PM	#16
Sacha Rosen Regular Crew Join Date: Feb 2008 Location: Winnipeg, Manitoba Canada Posts: 86	label it as wild sound we start with 1000, 1001,1002, depending on what the script supervisor wants. also verbal i.d as wild sound for scene whatever "having tea"

December 24th, 2010, 02:51 AM	#20
Miggy Sanchez Regular Crew Join Date: Nov 2010 Location: Melbourne Posts: 92	Great video Jon. Very slick, in the best possible sense of that description. I really liked the music. Thanks for the link; amazing to know what's 'out there'! Mig