Videomaker – Learn video production and editing, camera reviews › Forums › Technique › Sound › Miking several people
- This topic has 8 replies, 1 voice, and was last updated 10 years, 1 month ago by Anonymous.
May 3, 2011 at 9:55 PM #41881AnonymousInactive
I’ve just been watching some professional documentaries, and wondering how they are doing sound for interviews, particularly when there are conversations going on. Once in a while I thought I saw a lavalier mike clipped to someone’s shirt, but more often not. Shotgun? Maybe. But what happens when you have, say, people sitting around a table, or a family in their living room talking to each other? Six shotgun mikes? And does a shotgun really give you the quality I’ve been hearing? Case in point: “45365.”
May 3, 2011 at 10:48 PM #177023JackWolcottParticipant
Our company regularly records a French speaking doctor and his simultaneous translator, with a mic for a moderator and at least a couple of additional audio sources in the audience. We feed all the mics into an audio mixer, which then goes into one channel on the camera. The second channel is used with a shotgun for ambient sound.
To mic a conference table we often use PZMs, which don’t provide the same sound quality a shotgun or lavalier mics would give us, but which have excellent pick up characteristics for folks at a table. If higher quality audio is required we use a shotgun on a boom pole or several shotguns on mic stands.
For situations where a speaker is addressing an audience in a Q&A situation we use a shotgun on a boom pole. This requires a separate operator but enables us to get a mic “up close and personal” rapidly.
Generally speaking, the best quality will be provided by having a lavalier mic on each speaker; a shotgun on a boom is probably next best, followed by PZMs. Everything else being equal, the closer the mic the better the audio.
May 4, 2011 at 1:24 AM #177024EarlCMember
Rarely does a single mic solution offer the desired audio quality. PZM mics, those units that sit central on a flat surface, utilizing the surface as a “sort of” speaker, rarely (as Wolcott points out) provide decent quality and are notorious for picking up every pin click, cufflink rattle, fingernail clacking, paper rustling … you get the idea.
The ultimate solution, again as Wolcott notes, is to mic each individually when and where at all possible, use a sound person to ride the mixer, and utilize quality microphones for acquisition. Close groups can be hardwired, while people spread out around a room will require wireless rigs.
It has been my experience that I can get better quality sound for less investment by going with hardwired and wireless lavaliere mic systems than trying to utilize shotgun mic systems of high enough quality to ensure the quality of audio I desire in most interview situations. You’ll likely spend way more for the level of shotgun mic quality needed to match what those hardwired and wireless mic systems will get you.
May 10, 2011 at 8:55 PM #177025AnonymousInactive
Perhaps the next question, then, is, Does anyone have tips on making lavalier mics invisible?
May 10, 2011 at 11:24 PM #177026Grinner HesterParticipant
You’ll do that in post. Dangle as you need to in the field then mask as needed later.
May 11, 2011 at 1:04 AM #177027D0nParticipant
I find wire under the shirt, and skin toned bandaids and or green painters tape (no residue on clothing) helps a lot with hiding mics. you simply have to be creative.
May 11, 2011 at 1:32 AM #177028EarlCMember
I have to estimate that 80 percent or better of the documentary and/or interview productions I’ve seen do not worry about “hiding” the mic. Clean dressed mic such as what Don notes usually is accepted.
Personally, I don’t think the added time in post work, rotoscoping out mic and wire assemblies, is being very efficient or productive and certainly will, all else considered time-wise, probably take ANY documentary project over budget.
Until I acquired a white lavaliere mic system (primarily for use with brides and those white dresses) I actually used Liquid Paper to put a temporary white coating on my black ones. As Don notes, I’ve often used flesh-colored bandage strips and various colors of gaffers tape to attach. I’ve also often dangled mic systems just out of frame for overheads, etc.
However, again, I simply do not think that the vast majority of documentary projects necessitates eliminating the visual presence of mic systems, so long as dangling wires, or messy dressing is avoided in the setup.
June 15, 2014 at 8:37 PM #210623AnonymousInactive
I would use multiple shotgun mics on stands and a mixer, then control the levels of each person individually.
June 15, 2014 at 8:39 PM #210624AnonymousInactive
Alternitavely, use radio mics and control the levels with a mixer. Make sure they aren't going to rustle on clothing.
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