1. Field Recording
Cutting the Cord

2. 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

3. 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)

4. 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

5. 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?

6. 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”

7. 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

8. 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

9. 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

10. 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

11. 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”