AudioMedia - January 2009 - (Page 32)

REALITY BITES > were to stay at the bar – and if, say, one camera went with the shoppers, whilst another stayed at the bar – then we needed to cover the audio for any combination of a team’s members, onto any of the cameras. Since we had a recordist plugged into each of the daytime cameras at all times, it seemed sensible to find a way that each recordist could mix any combination of team members to their camera at any time. In the end we built four identical bag kits, each containing an SQN mixer, a Sound Devices Mix Pre (wired into the mix buss IP of the SQN), three Sony twin channel radio mic receivers, a boom mic, and a VHF transmitter to send audio to the Director. The Mix Pre wired into the mix buss IP of the SQN mixer effectively made a four-channel mixer into a six-channel one, and made the whole idea work. All five radio mics were available on their own faders at any time, plus a boom. An advantage of the Sony radio mic Rx’s was that they were twin channel, which somewhat reduced the weight to be carried. The packs were still mightily heavy, and I am not ashamed to say that I had to move on to a previously booked job after one week of the (six week) shoot, glad to be Opportunities In Reality passing my pack onto another, rather younger, recordist, to finish off the marathon of a shoot. THERM ROOSTER TAPE OP AD 2 4/2/08 Simon Bishop on location. 14:53 Page 1 When I read the above, I immediately realise how different things might be if I were to be asked to spec a similar job today. There are now tools like the various recorder/mixers available that would have helped to make a smaller and neater pack. They could not only make a mix and send it to the camera, but also record iso tracks of all the sources as files. The obvious contenders would be an Aaton Cantar, a Zaxcom Deva . or Fusion, or a Sound Devices T with the CL fader pack. All of these machines can record iso tracks for hundreds of hours, whilst also offering a set of faders to simultaneously produce a mix. All of these machines record to either HDD or CF card, so files may need to be mirrored off after a shooting day, or can be recorded to CF card during the day, and copied off after work. That said, it should be remembered that one might produce quite a few Gbs of data in one shooting day, and it might become onerous to copy files after work. A way around this might be to set up a system with, say, a system of rotated CF cards that are copied off by post production or editorial whilst the crews are working or resting. Be aware that eight tracks of -bit, kHz audio recorded for five hours will make nearly Gb of data, which could be a long transfer after work! Change that to -bits, and eight hours worth, and it becomes a staggering Gb. So – recording directly to deliverable media, even if it gets recycled, is clearly a good thing. Since the chaos that was Kavos (a dangerous place to holiday for sure) I have done a number of runaround jobs with various Zaxcom Deva > As Time G oes By THERMIONIC CULTURE ENGLAND VALVE PRE-AMP WITH EQ & ATTITUDE THE NEW THERMIONIC CULTURE ROOSTER DUAL MONO MIC/LINE/DI PRE-AMP WITH EQ AND DISTORTION WITH ‘ATTITUDE’ International Distribution by Tel: UK+ 1440 785843 Fax: UK+ 1440 785845 sales@unityaudio.co.uk Check www.thermionicculture.com for dealer listings, reviews, and specs FREE FROM SOLID STATE ADDITIVES 100% FULL FAT AUDIO CONTENT 32 AUDIO MEDIA JANUARY 2009 GET CULTURED http://www.thermionicculture.com http://www.thermionicculture.com

Table of Contents Feed for the Digital Edition of AudioMedia - January 2009

AudioMedia - January 2009 Contents Recording News Post News Broadcast News Geo Focus: India What's Up UK? Special Report: Pimp My Ride AKG C214 Sony Acid Pro 7.0 Final Cut: Mirror's Edge Opportunities in the Reality World She's Got the Look The X-Factor Sadie LRX2 Source Elements Source-Connect 3.1 Buying a Recorder In Control Product Sampler: Trade Shows Video Guide AMSR News Digico SD8 The Last Picture Show File Server

AudioMedia - January 2009

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