Field Recording Help

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WGCProductions

Hey everyone. I am looking into buying some audio equipment for short films that my group makes. We dont have much budget so I was thinking preferably cheap XD.

The camera we are using is the Canon T1i (looking to upgrade), which as many of you may know has no mic inputs...this means I need to buy an external recorder. I was thinking the Zoom H1...Should I be using this as my mic on a boom pole? Or should I get a mic that plugs into the Zoom which would then attach to the boom pole?

I am not that good with audio so any help would be highly appreciated!

Thanks!
 
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Alcove Audio said:
It's called Production Sound. Field recording is what someone like myself does when recording sound effects and ambiences for audio post production.

Start here in Gear and Equipment, it's been discussed frequently.

http://www.indietalk.com/forumdisplay.php?f=241

Also, give us a fairly firm price range.
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I apologize, I am not very familiar with terminology in the audio department.

My budget is between $300-400. From what I saw in other forums, I know you prefer the Tascam products. I've looked into the DR-40 Digital Audio Recorder. From what I've read, it seems you get better sound from plugging an external mic into the the portable recorder, but since I'm on a tight budget is it possible to stick the DR-40 on a boom pole and use that until I have the budget for an XLR shotgun mic or should I increase my budget to get that shotgun now?
 
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Although some people do it, putting the recorder on the end of a boom-pole is a terrible way to record production sound. There TWO microphones, and dialog should be recorded in MONO. If you sum the two audio tracks (pan them both to the center) you will end up with phase cancellation and other audio problems. Also, there is no convenient way to monitor the audio while blocking and shooting when the recorder is on the end of the boom-pole, and monitoring the audio is job number one when recording production sound.

Start with the DR-40 ($200) and the Rode VideoMic ($150). The DR-40 will have XLR capabilities if/when you upgrade your mic, and the VM can be camera mounted at that time so you get better quality sync tracks and can serve as a back-up mic. You'll have to DIY the boom-pole for now, but when you upgrade the mic you can get a kit that includes a decent boom-pole.

If you've been following my posts you should also know that proper audio and boom-pole technique are extremely important.
 
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Thank you Alcove Audio. I will take your advice into consideration and most likely stick with the DR-40 and the Rode Videomic. I have read into the importance of boom operating so I will either find someone who is well trained in using one or have someone trained to use one.

Thanks for all the help!
 
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Someone who is "well trained" is going to cost you, and will probably already have all the gear they need. And, not to disparage your abilities, but how are you going to train someone to do something that you yourself do not know how to do?

Being a boom-op is HARD. I know, I've done it. I did okay, but it increased my respect for real boom-ops immeasurably.


http://www.colinhartonline.com/?p=336
 
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I have connections with several studios in which I have worked that will provide free training on how to use a boom mic as well as a friend or two who have operated boom mics before.
 
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Alcove, do you ever mic your actors separately? As in, have an overhead shotgun mic, then a lav mic for each actor in the scene, and simultaneously record them all via multi-track recorder? Or is that a waste of time and money?
 
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I'll jump in here. As long as I have the tracks, and the shot allows it, I will boom as well as lav the shot. Also, if I've got a walla group, booming just makes more sense. I've yet to find a lav that sounds as well as a properly boomed actor. However, more and more lately, directors are choosing to shoot wide or medium wide and not give me a close shot that I can boom.

LasVegasIRA said:
Alcove, do you ever mic your actors separately? As in, have an overhead shotgun mic, then a lav mic for each actor in the scene, and simultaneously record them all via multi-track recorder? Or is that a waste of time and money?
Click to expand...
 
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