AudioMedia - January 2009 - (Page 37)

REALITY BITES all over this country and other countries,” tells Kita. “For most shows, every day is shot in a different location. So, to understate, we’re moving.” In most of the shows where Kita captures audio for The Look, there are nearly cast members, and there are wireless mics ‘on everyone’, he insists. “We also shoot with eight camera packages, on average. For reality TV, a camera package is a camera, camera operator, and an ENG audio mixer with an over the shoulder bag. The ENG mixer is trying to follow what the lens is shooting. A lot of times, we have a cart system that is multi-tracking audio at the same time.” With Kita on the second season of the show, he now finds it a bit easier, if only out of habit. “We’re shooting around New York City in multiple locations every day,” he offers in a nonchalant tone. “Yeah, it’s hard to move around in New York; we’re in a gym in a high-rise building one day, crosstown at a sound stage the next day, and next, at a park. I just need to be mobile as much as I can while recording multi-track audio.” She’s Got the Look Because of his needs for gigs such as She’s Got The Look, RGEAR Audio’s recent acquisition of an Aviom Pro system was most beneficial. “It was a huge benefit for this show in particular,” he states assuredly. “It’s the system with mic pres, output modules, and Yamaha cards. For most of our shows, the cast will move to a location and will live there. We’re building out that house – running plant mics, an RF antenna system, and have cameras everywhere running into a central control room. These aren’t sets: they’re actual houses, mansions, lofts, and such. We used to run copper mults, big heavy cable, everywhere. But once we saw what Aviom was doing, it was clear that there was an easy, simple way to build out these houses.” Now, Aviom Pro mic pres phantom-power all mics on The Look set. “We go into a house, find a central location to put our mic pre, run all our cables to our mics phantom-powered from the mic pre, then run a CAT cable from that mic pre to the control room, usually in a garage area,” Kita explains. “The Aviom system makes it easy to hide the cable. Sometimes we’d even use existing CAT that was run in these houses; it just becomes an expendable cable rather than running big mults that are hard to hide and lay out. Then, when we’re on location in different places every day, it provides the same benefit via an easy to hide and lay out system. We’ll roll in with our RF rack and a cart in another room, maybe on another floor, and run one CAT cable between the RF rack and the car t. With that, we’re ready to go. The cable is expendable, and it can be any length up to feet. We can immediately be two floors below where they’re shooting – just throw a CAT out the window and we’ll be ready to go in minutes.” M oving To Aviom For She’s Got The Look, six cameras with six identical ENG-type audio mix bags are used. “They include receivers to dial in the cast members,” explains Kita. “There are cast members starting out, plus four judges and a host. We send two wireless channels to the camera, and they mix > R ig O f A R ealit y G ig AUDIO MEDIA JANUARY 2009 37 http://www.seelectronics.com http://www.sonic-distribution.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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