On-Set Wireless Headphones For Your Film | Setting Up Your Client Mix
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- Опубликовано: 20 окт 2024
- Not sure which mix to send the bigwigs on your set? In this episode of Sound 101, Andrew and Kevin talk us through setting your client mix. This is for the director, producers, script supervisors, and any other high profile guests that may be on your set. Most importantly, this will show you how to add wireless headphones to your film set and provide some other tips for wireless audio on set.
Learn how to avoid hot mic situations that get people into trouble by only send the right audio to their mixes. Sometimes less is more. Learn when to prioritize the boom feed and when you should add lavs. Now you will know how to use Comteks to make sure everyone is hearing what they need to hear and nothing more.
We also cover when to use slate mics and how to avoid possible complications with those. This video will prepare any level sound mixer to be on a bigger set with multiple mixes. Worried about gear? Don't be! We show you which type of mixers will allow you to send these types of mixes.
If you have any questions about this episode or other types of mixes on set, leave us a comment below!
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Summary:
Deity Microphones produces weekly digital web content to help filmmakers and sound mixers grow in their education. Deity Microphones shares this free web series in hopes that the next generation of filmmakers grows in their video production quality and changes the world.
Deity Microphones produces free educational web content to help filmmakers, vloggers, sound mixers and sound designers grow as creatives and take their production quality (be it independent, TV, or studio) to the next level. Deity Microphones believes that budget should never be a constraint to creativity.
What else do you want to know about on-set audio?
Can lights interfere with sound on stage?
How to use a G3 to send audio to client or director?
Good advice! I also find it best to just send the boom to the director or any other crew members except for the boom op. This could change if I have a scene where we have to skip the boom in which case I'll then feed the wires (lavaliers) but try to explain to the director first that it will sound a little different than the final piece due to mic bleed, phasing, etc. Just so they don't freak out.
Curtis Judd I explained this my clients but they still wanted to hear the whole mix lol
@@nolashdemon That's a service they get when they pay for a sound crew with a mixer, a boom op, and a utility. Then you can deliver a proper, full mix. ;-)
This is SO GOOD! The hot mic tip seems so obvious but it could be a massive make or break for a gig and is so easy to not think of until you learn the hard way.
Buy what you NEED, not what you WANT. Thanks for this!🍹👍
One of the better videos I’ve seen from this channel. Typically what I do is use the same mix (and sometimes the same transmitter) for hops and IFBs. Everything post fader, and just pull up faders for what sounds best in that individual scenario. I don’t need to listen to everything all the time, the mix is fine, and if I do need to check something that’s not being routed to the mix I can just PFL it to check.
I am loving these videos. Wish I knew about them sooner.
These talks are so much interesting. You point ou details that can change the whole workflow and communication of a film set. Thanks for everything it is a real valuable content that you offer us for free!!!
An excellent series. Thanks, Guys; for putting it across to us. 👍
At the Spot and to the point. Thanks!
I was wondering hiw mutch quality is "enough quality" to satisfy which kind of clients as I often see clients already satisfied with the quality while I'm still trying to enhance... especially in corporate work... would love to hear your take on how to determine the audio point of diminishing returns...
Salut!
Man these videos are great! Although I wish you had links to videos that you mention and links to products that you talk about.
"On-Set Wireless Headphones For Your Film" what did I miss? was never talked about.
Yeah they should’ve went into that more too
awesome content
Thank you for the great video again !!! , May I know what is the difference between Comtek Field Monitoring Kit e.g FPM-216 and Deity Connect Wireless System or usual UHF Wireless System ? can they doing the same job ?
Buy what you need, not what you want. Solid advice, although it should be fun to work too and the line inbetween need and want can be quite curvy.
Does one need a Sanken CS3e or DPA 4060s? No, not really.
Will it be more fun to work with and will the end result be better than entry level mics? Heck yeah!
Since all the sonys jave bluertooth amd wifi you would thinl wirless would been implemented across the board a long time ago.
What if a director wants to listen to audio playback as they're watching camera playback? How is that set up? Is timecode a factor? I have a Zoom F8. Thanks
Thank you so much for the great video ❤️
What's those transmitters and receivers that you'd show?
I would like to see videos on how to record with various cameras that have internal audio recording available. For instance, I have the BMPCC4K. If I were to record the audio using the camera's audio recording capabilities, what would I do to get the best results. Thanks.
can I just use 2way radios on set?
I first want to say I love the content you create and its very helpful to me. I have a question. When you are in a interview setting and have one or more people on camera with a lav and boom for each person how would you use mix assets or not at all .
We have two episodes on interview audio coming up next so stay tuned!
Question can big fingers get in way of turning those small nobs on recorder.
Sometimes! We actually have some custom 3D printed knobs in the studio to prevent this.
Is there any dealers in India ??? Global amazon links do not ship to my location .
When should you consider getting a license for your wireless system? And how to choose the right license?
Buying what I need, not what I want ... that is why I am poorer than I should be ...