Field Recording Cutting the Cord

Field recording is a subset of on-location recording It can include (but is not limited to) dialog recording, ambience recording, production sound, and EFP/ENG It may imply that you are completely remote: meaning you may not have access to power or shelter

Some Terminology Single System: audio recorded directly to the camera Double System: audio recorded to separate recorder and sync'ed to picture in post Slate: Device used to create a reference for sync'ing picture and sound IFB: Interruptible Fold Back – monitor mix for talent and crew Mix Minus: monitor mix for talent without their mic (or other elements included)

Tools of the trade: Field Recorders Field recorders range from simple low-cost hand-held devices (“shavers”) to high-cost “bullet-proof” multi-track devices Low End: Zoom H4n, H6; Tascam DR-40;Tascam DR-680; Tascam 60D; High End: Nagra VI; Sound Devices 744 and 788T; Zaxcom Nomad Mid-Priced: Edirol R44; Tascam HD-P2; Sound Devices 702

Tools of the trade: Field Recorders Things to look for: Number of channels/tracks (2 – 8) Limiters? Recording media (CF; SDHC; internal HDD) Connectivity: USB, IEEE1394, etc. Can it sync with other devices? Time code, video black support? How many, what kind of inputs? Internal/External microphones? Phantom Power? Battery type? Battery Life? Charge time?

Microphones RF vs. Regular condensers Phantom Power vs. T-Power Shotgun mics: Sennheiser MKH416; Schoeps CMIT5; Sanken Long and Short Guns Hypercardioid: Schoeps MK41; Neumann KM185 Figure-8: Neumann; Schoeps; Sennheiser; Ambient “Emesser”

Wireless Systems: Sennheiser & Lectrosonics Cheap: G3 about $500 - $1k Expensive $10k + Lavs: Tram, Countryman, DPA, Sennheiser UHF vs. VHF Analog vs. Digital Transmission Handhelds 3 audio gain stages Always maintain line-of-sight

Accessories Headphones: dynamic, closed, circumaural Boom: Carbon Fibre vs. Aluminum Field Bag Harness Carabiner Power/Battery Pack Windscreens – foam won't cut it outdoors Condoms (non-lubricated if possible) Comfortable Shoes Quiet Clothing Cotton Gloves

Some Sync Basics SMPTE Types: Record Run: timecode increments only when recorders are running; Generally starts with an hour of offset (01:00:00:00) Free Run/TOD: Time Code constantly running – whether recording or not. Generally set to “Time of Day”; Can be “Jam Sync'ed” - recorder periodically sync'ed with master time code generator, but otherwise runs free

Sync Basics continued Video Black/Gen Lock: SMPTE is an analog signal that provides frame information – it does not sync internal digital sampling clocks To ensure that the digital audio recorder and multiple cameras do not suffer from “clock drift” on long takes, a “Black Burst” signal is used to sync all internal clocks. It is conceptually similar to (and can be converted to) Word Clock, but is NOT the same thing

Otherwise, sync'ing can be done manually “by hand” Post Sync Using a Slate at the beginning or end (“tail slate”) is the easiest and best way to provide a sync reference in a double system recording Software called “Pluraleyes” can sync multiple cameras and audio, though it usually needs some help Otherwise, sync'ing can be done manually “by hand”