Mic suggestions for adult film

[Michael Masterson]

Greetings,

It did not take long on this message board to realize that there are many here with expertise that far exceeds my very limited knowledge. Bare with me for a quick background as my question is pretty specific.

I am a producer of adult videos. We have been very successful, and won the Video of the Year and the People's Choice award last year. In an industry where production value is lacking, we have made an effort to provide a high quality product. I shoot with an XL-1S, an XL-1, and a GL-1. Generally, it is a two camera shoot, but on some larger productions we use all three.

Our 5000 sq. ft. studio is an old mansion, consisting of various small rooms. I have been happy with the video production, but I am currently looking to dedicate some money and effort into improving our sound quality. Currently, we are only shooting using the on camera mics. Clearly, the quality of our sound is limited under these circumstances.

I would like suggestions for an entire audio setup, beyond what we are currently using. Keep in mind that most of the rooms are small, the action is a mixture between dialogue and what are often very loud spankings (which gives a pretty wide range in sound). Generally the models are close enough together that a single mic could pick them both up. I am willing to spend up to a few grand to get setup. Could anyone who is kind enough to reply be very specific on products, including model numbers.

My current thoughts are to add a stereo mic to both of the Xl-1's, attched to a boom above the action. I had thought I would run both of these through a basic mixer and back to the cameras. I would continue to use the on camera mics for ambient sound. Obviously this option has me running in 12 bit, with two stereo signals to each camera. I do not know if this is a good plan, and definately do not know what mics, adaptors, mixers, etc. I would need. I would be very grateful for any advice.

Cheers,
Michael Masterson
Realspankings.com/films

[Rob Lohman]

I cannot offer you any microphone advice etc., but do keep in mind
that 2 stereo 12 bit channels create 4 mono channels in total.
Not all editing applications can handle this (good). So I would
advice you to run some tests first (easy to test 4 channel input
with the line in on the XL1 or a cheap second mic) to see how
that part of the pipeline is going to work.

I'll leave the rest to others.

[Dylan Couper]

I'd do the mic on a boom.

[Dylan Couper]

I'd suggest using a lav mic, but after watching one of your video clips, I'm not sure where you'd clip it to... ;) j/k

[Rik Sanchez]

michael,
why not run another couple of mike through the mixer instead of using the on board camera mike, you'll get a cleaner sound by using off camera mikes and you can run that signal into the back of the XL-1 in 48khz.

How many channels does your mixer have?

[Michael Masterson]

Thanks for the current replies. Rik, I do not currently have a mixer and am certainly open for suggestions.

Thanks,
Michael

[K. Forman]

I would recommend the Korg D12 or D16. Not only does it have 12 channels, but it also has pro XLR connections, and can record CD quality audio. Run your boom mics into this, and your audio will improve 100 times. You will be able to feel the sting of each spanking.

[Rick Spilman]

I have used a boomed shotgun mike running back to my PD150 with good results. It is on it's own channel and I can easily tweek it in post if need be. I also record using the on camera mike which can be good for mixing in ambient sound as well.

Why are you interested in stereo mikes? Most shotguns are mono. Stero adds another level of complexity without any real benefit that I can see.

I am now trying to resist a stupid comment on being careful where you stick the shotgun. Guess I failed.

[Rik Sanchez]

I have a Mackie 12 channel mixer, most mixers will have several outputs, mine has a tape out and master out so you could run cables out of those two outputs and have both XL-1s with good audio.

you would need someone to monitor the mixer and make sure you get a good mix. The only thing with doing the sound this way is your audio will be one track. If you did it the way you had planned, in 12 bit mode with two tracks of audio, you could play around with it in post. With your DVD's it might be interesting to have the spanking audio coming from the back speakers while their voices come out of the front speakers.

I recently finished a short movie and my friend is making a DVD with surround sound. We had 4 different tracks of audio we are putting through the 5.1 system.

I tried to check out your site but I don't have RealPlayer. You are sort of in the same line of work I'm in. I'm putting together an S/M DVD. My friend has her own S/M hostess club and I've been filming her fashion shows and S/M shows.
This thread has got me thinking into my next DVD, gonna try to have the sound miked with several mikes. Music on one track, the whips on another track, vocals on another one, don't know if it will work but I'll give it a try. Check out my friend's site: www.visona-viseri.com

Definitely get someone to be in charge of the sound and all the mikes, someone who knows about audio that can make sure the sound is at its best. For my next big video, I'm getting a sound person.

Let us know how you get your sound straighten out.

[Bryan Beasleigh]

I second the off camera boom mounted shotgun mic . It seems most opt for the K6/ME66 sennheiser (shotgun) as the first tier choice. It gives the best bang for the buck and you have to spend considerably more to get better results. there is better , but they cost a great deal more. The K6/ME66 package costs below $400. You could use either a small mixer or an XLR adapter. the beach Tec or Stdio One run under $200 and will balance the mic output to your camera inputs and allow you to do some basic mixing and attenuation.

http://www.beachtek.com/
http://www.studio1productions.com/xlr-menu.htm

Jay Rose over at DV.Com mentioned the Marenius MM3100 field mixer for $340 a while back. have a look at Marekertech http://www.markertek.com/MTStore/Sto...&button=Search
or try some of DVInfo's sponsors. You can trust their suggestions. Chris would have it no other way.

The Audio Emporium has some excellent reading on the topic. Look for articles on every aspect of sound control. there is a whole section on each type of microphone as well as every conceivable accessory.
http://www.equipmentemporium.com/

for the articles click the PDF box or go to

http://www.equipmentemporium.com/pdf_files.htm

You will need a decent stand and boom pole or a boom operator. You'll find a lot of info about operating a sound boom on the Audio Emporium site.

Don't forget a decent shock mount. A shock mount cradled the mic and protects it from bumps and other disturbances that may wind up as uncared for additions to your sound track. A good , basic shock mount is only $50.
http://www.bhphotovideo.com/bh2.sph/...ID=F53FCD5D740

So for a minimum outlay of $400 mic and power capsule, $160-$200 for the XLR adapter, $50 for an Audio Technica 8415 shock mount, $20-$30 for XLR to XLR cables plus whatever boom arrangement you want.

You can hang it off a modified window washers squeegee pole if you desire ( no pun intended)

These are some basic suggestions and only one mans opinion. if some one disagrees then I would hope they would offer an alternative.

"You will be able to feel the sting of each spanking."
Geez Kieth, my eyes are watering just thinking about it.

[Nathan Gifford]

You can also run your sound into MD player and use a clap board for sync. I second checking on your NLE and see if it can handle 4-track audio since most NLEs won't (I hear that Premiere does, but Vegas 4 does not).

Remember you run the clap board every time you start the cam.

[Matt Pope]

<<<-- Originally posted by Nathan Gifford : You can also run your sound into MD player and use a clap board for sync. I second checking on your NLE and see if it can handle 4-track audio since most NLEs won't (I hear that Premiere does, but Vegas 4 does not).

Remember you run the clap board every time you start the cam. -->>>

Premiere will handle 4 tracks, but only 2 at a time. So you have to capture 2 at a time, then sync them in post. I'm not sure how FCP or Avid Xpress handle 4 tracks... anyone know?

[Mark A. Foley]

If want 4 channel audio capture for your NLE, you can use Scenalyzer ($40) http://scenalyzer.com/