Frage von marmor78:
Hello,
To a DVD production of a play, I would like to deliver the sound as a sound technician for the film, the play is recorded with 3 cameras, and there lies my problem:
There should be heard in the film sound more so, what is synonymous to see in the picture (I mean the direction and the stereo), then afterwards I can adjust the cut on the chosen picture.
My recent thoughts:
s.Bei post-production with the PAN controls the dialogues so as to set, so the sound is synonymous with the Picture.
b) Record the purchase with an MS-Stereo Microphone directly, and make the Matrizierung into the left and right channels only when the post-production, so I can adjust the Stereobasisbreite the respective image.
My problems:
Unfortunately, the actors do not wear headsets and I have the sound recorded so far (in previous recordings) with one false Microphone; from The broad stage I did not come without a spot microphones. How can I integrate this sense, so that a post-processing is possible?
How do such performances for television and DVD productions are recorded and mixed?
Greetings, Martin from Nuremberg
Antwort von Quadruplex:
s.Bei post-production with the PAN controls the dialogues so as to set, so the sound is synonymous with the Picture. In principle, a sensible approach. One should not overdo it with Regelei: If changes every output frame with the stereo perspective, this is annoying after a short time. Not for nothing is placed in the dialogues of the time in movies, the acoustic center. Rule of thumb: If someone merely into PictureBox rausläuft pannen or can you do when s.Bühnenrand example, a door or other noise sources that should be synonymous of hearing. But the players should remain stable in the middle. Left and right should mainly be listening room and shares the Publkum too.
b) Record the purchase with an MS-Stereo Microphone directly, and make the Matrizierung into the left and right channels only when the post-production, so I can adjust the Stereobasisbreite the respective image. Basically yes, with stereo width: see above.
The broad stage I did not come without a spot microphones off. How can I integrate this sense, so that a post-processing is possible? I would place the left and right of the stage floor so-called Boundary Microphones. The optical are unremarkable (the cable should be kasschieren course somehow or move), and bring a natural sound. Take the mixture on separate tracks on it and together with your M / S mic in the main post.
Antwort von Ralf Kriegsmann:
I would place the left and right of the stage floor so-called Boundary Microphones. The optical are unremarkable (the cable should be kasschieren course somehow or move), and bring a natural sound. Take the mixture on separate tracks on it and together with your M / S mic in the main post. That's what I thought of already synonymous. What is there with problems (rumble off), when the performers cavort on stage?
Antwort von Quadruplex:
That's what I thought of already synonymous. What is there with problems (rumble off), when the performers cavort on stage? Generally good-natured - but of course, depends on the particular micro, from the floor and about doing what the actors. Can probably only try - at a pinch I would put those things on a highly damping rubber.
Antwort von Markus:
Hi,
Boundary Microphones're specially because the acoustics of the surface on which they are entrusted with too. Perhaps it would be better to place the spot microphones on the left and right s.oder on stage? So I always make for theater recordings.
