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What's your budget? What do you already have access to? (mics, mixers, recorders, etc.) What kind of camera are you using? Is there a lot of dialog or mostly ambience? Are you retaining a location recordist? Details please!

There are cheap boom mics out there. It's the accessories that will eat up your budget. A complete inexpensive blimp kit without a pole goes for around $500.00. An inexpensive boom pole runs about $110.00, a cheap windscreen about $25.00, a cheap mic shock mount around $150.00; there goes...

A boom with a windscreen and shockmount will bust your budget and you don't even have the mic and recorder yet. Since there is no mic input on the ZR700 I would recommend that you get a minidisk recorder and a mic like the Shure Beta 57 to use as a handheld. By the time you add a windscreen...

Please give a few more details. What kind of camera? How far away is the camera? Is there a mic on the podium or are the speakers using lavs? Is there a mixing console in the church? What's your budget?

Hi Filmosity, I try to avoid making negative comments about specific films, I may want to work with those people some day! As far as great sound design and mixing here's a few favorites: The Conversation Apocalypse Now Saving Private Ryan The English Patient Who Framed Roger Rabbit...

Why did I post here? Well, RogueCrew, who needs to hear it more? If a freshman film maker starts thinking about sound from the first day he/she walks into film school won't they be a better film maker? I'm sure that like most people you just glanced at my post instead of really reading it. I...

DAT, Nagra and the FR-2 are sound recording devices used on the set and in the field in conjunction with the microphones and sound mixers. The Fostex FR-2 is a digital field recorder that records to PCMCIA 1.8" hard disk drives and Type II Compact Flash. It can record up to 24-bit 192KHz...

The two tracks of audio captured by your DV cam (you're not using a DAT, Nagra or FR-2? Shame on you!) will later become a part of the audio mix of the film. The location sound, and any other sounds, are edited and mixed during the audio post process. The placement of the sounds is determined...

Film IS a collaborative art form. The key is to collaborate with people who share your vision. As a sound designer I approach a project from a much different perspective than, say, a DP; he/she sees the project, I hear it. My job is to provide the director with options. I'm not smarter than...

You will be amazed at what can be heard by a microphone. I'm going to be get up on my soap box and give you my point of view as a location recordist and audio post engineer. Sit down in that room in total silence for about 10 minutes at different times of the day and listen to all of the...

As an audio post production engineer and sound designer I can't reinforce what TAFKAD6108 said about location sound enough. Great location sound makes for a much better film. Although it is my business I HATE projects with poor location sound. I spend endless hours doing noise reduction. I...

The old Hollywood mantra - But what I really want to do is direct! Okay, you have a script. Now you need a budget. Your budget will dictate your compromises from day one. People who work for free may be talented, but are usually weak in technical, organizational and logistical matters...

I'm a sound designer, formerly a touring musician and recording engineer. I got started in the film business doing the location sound for a community film group project. They shot a 10 minute short in two days. The idea was to show the average person what is involved in film making. The...

Looks like I'm preaching to the choir here. Once again, if the producer/director doesn't think about sound BEFORE shooting begins, there's going to be problems. I worked on a feature last fall where the director was incapable of listening to anyone. Despite the strongest urgings of the...

Thanks for the support guys. DBXMe2 - Silent is an artistic choice. If use sound in the future are you going to settle for garbage? My point was if you are going to have sound in your film you ought to think about it before you shoot, not when you're in post and it suddenly becomes a problem...

Hi all, Please excuse me, but I have to get this off of my chest. I have been working as a sound designer/audio post engineer and location recordist for about three years now. Before that I was a performer, including touring with an internationally recognized recording group, and as a...

It's hard to say. That's why I'm such a fanatic about good location sound. Fixing problems is the most tedious process and can be the most expensive. I get $50 per hour and I do block rates. I have fixed and mixed a 106 minute feature in 50 hours. I have done the clean-up, design and mix...

The amount of dubbing done on a film is very dependent upon what type of film is being made. The dialog in Sideways is almost all production sound. The Lord of the Rings Trilogy is about 90% ADR. The ambient noise of the location will dictate what will need to be ADRed. Action/Adventure...

Everything stated here is correct; if you want great sound you have to start with great location sound. Great production sound means a recordist who can capture clean, hot audio and a boom operator who knows his/her mics and how to direct those mics noiselessly in cooperation with your DP. Do...

Do not, repeat, DO NOT forget to think about location sound and audio post. I do audio post for a living and nothing destroys a film more completely than poor location sound. An audience will forgive a lot visually if your audio is well done. However, an audience does not tolerate poor sound...