During the pre-production stage, it will become necessary to think and deal in terms of basic equipment packages. When defining equipment and budgeting in terms of these packages, bear in mind that these are simply terms of convenience. The specific contents of each package type will vary from studio to studio, rental house to rental house, and even from sound mixer to sound mixer.
Members of the industry use these terms for generality only. When it becomes time to actually order equipment, forget the terms and get down to specifics: one of these, two of those, this adapter, etc.
Note that the use of the term “channel” is synonymous with “equipment package.” It does not, in this instance, refer to broadcast frequency.
One-Mic Channel
The One-Mic Channel is the most basic of the generic sound recording packages (channels). It consists of a portable digital recorder, headphones, one condenser “shotgun” microphone, a short mic cable, and a short fishpole.
The One-Mic Channel is the most simple, one-man band type of set-up. Picture one person with a recorder pouch strapped over the shoulder and a shotgun mic in hand. Applications would include sound effects gathering, wild lines, and documentary.
For documentary production, the sound mixer might want to add a couple of lavaliers, or radio mics, for interviews.
Daily rental is maybe $75 to $100 per day, excluding radio mics (around $50 each).
ENG Mic Channel
This is the video equivalent of the (film) one-mic channel. Since audio in video is recorded on the camcorder instead of a stand-alone audio recorder, the package does not always include a recorder. However, since most camcorders do not offer adequate mic mixing (input control) and the fact that camcorders are carried by the cameraman -- a small mixing panel is absolutely necessary.
Contents of a typical ENG Mic Channel would include an ENG-style mixer (such as the Shure FP-33,Sign Video ENG-44 or Sound Devices 302); headphones; one shotgun mic; cable; short fishpole; and 2 lavaliers.
Video folk seem to be enamored with the use of electret condenser shotgun microphones, such as the Sennheiser K6/ME66 and the Audio-Technica AT897. Many video rental houses will supply these automatically, in lieu of the higher quality condensers such as the Sennheiser MKH60 or Audio Technica 4073.
Daily rental is approximately $75 to $100 per day, excluding radio mics, excluding a digital recorder for backup.
Reality Mic Channel
Continuing in this same vein, there is the Reality Package. Very similar to what was described above, but kicking it up a level.
At least a four input mixer. Two to three radio mics. A short boompole with a condenser shotgun mic (short or long shotgun). A two or four track digital recorder, with timecode. And a nifty chest harness to carry it all in. Maybe even another wireless or two to transmit the mixed audio back to the camera (referred to as a wireless hop).
Prices vary so much, depending on the final selection of contents, that I will not attempt to ballpark the numbers.
Stage Channel
The Stage Channel is a complete sound recording package for theatrical style filmmaking (such as feature films, commercials, and episodic television series).
Contents typically include: one digital recorder; a production mixing panel; soundcart; fishpole; three condenser mics; duplex mic cable to the boomman; a few hundred feet of assorted single mic cables; and a few lavaliers. Sometimes more in the way of equipment, sometimes less. Again, remember that exact contents will vary from user to user.
Note also that two types of items are often not included in the basic package: headphones and wireless mics. As for headphones, it is normally assumed that the Mixer and Boom own their own. Wireless mics are a separate and expensive item, contracted for over and above the basic equipment package.
The term Stage Channel originated from the concept of filming on the soundstage or backlot of a major studio complex. All of the basic sound recording tools are present; but replacement equipment and specialty items are not included. In the event of equipment malfunction or special needs, it was only necessary to send the “third man” (Utility Sound Technician) a few hundred yards over to the studio “Sound Shop” for additional gear.
Stage Channels, although they may vary somewhat in the number of fishpoles and microphones, basically all share the concept of including only one high quality portable recorder.
Daily rental is approximately $150 to $250 per day. This excludes radio mics and other on-set wireless communication, such as walkie-talkies or Comteks (assisted listening).
Location Channel
What if the recorder was to break? Do we cancel the shoot and all go home? Or do we just sit around for hours while someone drives back to the rental house for another?
In either case, it is not a good scenario. Therefore, the idea behind the Location Channel is that we have TWO recorders minimum, as well as a very full complement of microphones and other needed equipment. The magic word is redundancy.
Location Channels are beefed up Stage Channels, and feature two or more recorders and plenty of equipment for major set-ups and contingencies. Radio mics are still extra, though.
A good rule of thumb is: If replacement gear is more than thirty minutes away (or you are shooting on weekends, holidays, or nights when rental houses are closed)... then go out with a fully stocked Location Channel! If the shoot is big budget and every minute lost can cost big bucks, then definitely equip yourself with back-up gear.
The difference in cost between a Stage Channel and a Location Channel is only $50 to $100 per day, for most recorders; although some of the high end units may cost more. Usually though, the backup recorder is not as full featured as our primary deck. That’s a small price to pay for “insurance”.
If the production company balks at the added expense, ask them to sign a waiver leaving you blameless for delay in the rare event of the recorder malfunctioning. They almost certainly won’t sign such a document, but they will give in and let you rent a back-up machine.
Daily rental is approximately $200 to $375 per day.
In addition to budgeting for the basic sound recording package, there is a wide selection of “add-on” items that should be given consideration while in the budgeting stage.
Wireless Microphones
Personally, I have always felt that these things should be called what they really are, neither “wireless mics” nor “radio mics”, but “wireless cables”. Because in effect, the transmitter and receiver of a wireless mic system do not replace the microphone itself, and virtually any type of microphone (with the proper adapter) can be used with the wireless system. The part that is replaced by the “radio” is the cable.
Wireless microphones are relatively expensive to rent. Daily rates are approximately $50 to $75 per day, per channel. (When dealing with radio mics, the term “channel” is used literally. Each system, consisting of transmitter and receiver, is assigned to its own operating frequency.
In addition to the daily rental fee, one must also budget for batteries. Wireless mics go batteries on the set like kids go through candy. Most receivers use one to three 9v batteries, or two to six AA’s, which will last one around one day. The body-pack transmitters, on the other hand, use one 9v or a couple AA/AAA batteries which may need to be changed every four or so hours! The cost of fresh batteries (not the close-out discount ones that have sat in the warehouse all year) can add up to quite a few bucks by the end of the shoot.
Now for some simple arithmetic. If you only have one actor who needs to be wired, how many radio mics must you bring? If you only answered “one”, you are quite an optimist (but hardly and experienced Mixer). Again, if the radio does not work, do we all get to go home early?
Wireless microphones are notorious for not working when you need them to. Not only are they subject to electronic malfunction or damage, but they are susceptible to every form of radio-wave interference that has ever caused your television reception to wobble. You name it -- it can cause interference. Police radios, walkie-talkies, computers, video monitors, vacuum cleaners, aircraft, passing traffic, neon, radar, electronic flea collars and bug zappers, and the list goes on. There are even supernatural “black holes”, akin to the Bermuda Triangle! The use of wireless mics is more of a mystic art than a science.
Yet another new wrinkle to the radio mic problem is the transition from analog television to digital. Many of the older wireless systems will no longer function, or may function erratically based on your proximity to a broadcast tower. So what may have worked fine during the prep, could be absolutely useless on location.
For convenience, four wireless mics may be housed in a case with central powering and fed from a single antenna. This is known as a “quad box”. Although the quad case itself will rent for $25 or $75 per day, some rental houses will package it at no extra charge when you rent four radio mics to go into it.
If you are doing reality or documentary, ask about custom belly pouches that hold up to four units, sometimes with common power supplies or antennas. (Sometimes, they are just plain pouches.)
To improve reception, a more efficient antenna system other than the little rubber stubbies that come from the manufacturer may be used. Examples would be dipole antennas, directional TV-style antennas, ground-planes, and hi-gain systems. Add, as an option, another $15 per day for a special antenna rig.
Ironically, many clients who are too cheap and fight me over the hiring of a boom person will suggest that I could make do with radio mics instead. Radio mics are not inexpensive, and even when you have them it does not guarantee that they will work. I’d rather have a boom operator.
Fisher Microphone Boom
The Fisher Microphone Boom is one of the most versatile tools a sound crew could have. The Fisher is a studio boom featuring a dolly base, center column support, and an extended arm capable of telescoping as well as rotating (cueing) the microphone. The arm is high and out of the way, yet is able to reach & follow the actors even during complicated moves across or through the set.
Two standard sizes are available: a 16 foot arm; and a 27 foot arm. The 16 foot model is more popular for single camera film/video, and is easy to deploy in smaller sets. The larger, 27 foot version is more often found on the multi-camera sitcoms and audience shows.
Operation of the Fisher does require a little bit of training and a whole lot of practice. I would not bother to rent one unless I had a skilled boom operator on my crew. But in the hands of a person who knows how to use it, the Fisher can reach into places on a set and follow talent far beyond the capabilities of any handheld fishpole.
Daily rental is only approximately $50 per day, which is about the price of a single radio mic!
Sync Playback Package
There will be times when it is necessary to play back a pre-recorded soundtrack on the set in order for talent to lip-synch and/or dance to it. Achieving lip-synch in filmmaking requires the same degree of sync precision in playback as it does in live recording.
To play back a soundtrack IN SYNC requires: 1) a soundtrack file recorded with timecode; 2) a portable digital audio recorder capable of reading the file and outputting the timecode); and 3) some means of making the playback track audible to the talent.
As for equipment, a basic playback package consists of a timecode recorder that can display the code of the playback track to the camera by means of a slate, an amplifier, and some loudspeakers.
Daily rental runs from approximately $120 on up for a recorder and timecode slate; plus $75 to $150 for the speaker/amplifier system.
Communications
The Sound Department may be asked to provide communications on the set.
The first type of communications you will be asked for is an audio feed from your mixing panel or recorder for the Director, Script Supervisor, and Client.
At its simplest, the Mixer would derive a spare headphone feed, plug in a long extension cable, and give the headphones to the proper party. If more than one person needed to monitor, then the Mixer would use some sort of headphone splitter box.
Crude, but effective.
There is a much better way, however. Wireless.
Industry practice is to deploy a miniature transmitter on the soundcart. Anyone who needs to monitor the soundtrack is given a miniature receiver along with headphones. Eliminating the long extension cords saves a ton of time, permits the Sound Mixer to move the soundcart as needed, and allows the listeners to roam freely about the set. This is referred to as Assistive Listening.
Listener freedom is very important to the Director. Prior to the use of wireless, Directors were notorious for destroying headsets at the rate of a few per day -- since they inevitably would jump up from their chairs and rush onto the set, usually neglecting to remove their headphones FIRST.
The industry standard for wireless monitoring is the Comtek System. Transmitters rent for approximately $30 per day; and each receiver rents for around $25 per day. Figure on three receivers, so budget approximately $100 or so per day for Comteks.
Walkie-talkies compose the other main form of on-set communication. A professional grade walkie-talkie -- featuring 5 watt output, 4 or 8 channels, and frequency assignment on the motion picture bands -- rents for around $10 per day. Small productions will commonly ask for at least four radios; larger productions may want as many as three dozen. Sometimes production companies will use cellular phones with instant talk features, but dedicated walkies are remain the more practical solution for most crews.
Expendables
Besides budgeting for personnel and equipment, don’t forget about the expendable items. On even a medium sized production, the bill for these miscellaneous, yet important, sundries can get too expensive for the Mixer to absorb out of his/her own wallet.
Recording Stock (computer media)
Make sure it is clear who is responsible for ordering, buying and bringing the recording media. Don’t automatically assume that the production company is bringing it, the cameraman, or the soundmixer
Usually,but not always, the production company or the camera crew will be responsible for the picture media. But the media used by the sound department in their audio recorders and computers are generally our responsibility.
Remember, we need memory cards for the recorders. External hard drives to archive the audio files to our laptop computers. CD or data DVD media to copy the files in order to be turned in each day to the editor.
How many gigs of storage will you need? In terms of the audio recorder, it will depend on what format you are recording in. For instance, each gig will hold approx 90 minutes of two track audio at 16bit/48k . So a four gig card can hold up to 6 hours of audio.
However, if you are recording to four track, then cut that number in half. Four gigs will hold up to 3 hours (45 min per gig).
The nice thing about memory cards is that you can reformat them and reuse them over and over. You only need a small handful of them.
A typical routine is to record production audio for awhile. When there is some down time, remove the partially used card from the recorder and immediately replace it with a fresh one, so that you are always ready to go.
Insert the used card in the card reader of your computer, and transfer the takes to the hard drive (or external hard drive). If necessary, use the computer to rename the audio files to match the long script numbers shown on the official clapsticks. Note that many field recorders do not easily allow the user to type in complex scene/take numbers, so just use the simple (eg one thru ninety-nine) numbering system in the recorder, and rename the takes later on. Have two columns on your logsheet: one for the recorder take number and an adjacent column for the formal scene/take number.
After you have completed the transfer of the audio files to the computer, you can reformat the card so that it is ready to re-use. At some point in the workday, you can burn a copy of the day’s audio onto a CD or DVD to turn in as dailies.
Another way to estimate your audio media needs is to find out how much film stock has been budgeted for. A one-thousand foot roll of 35mm runs at 90 feet per minute, for about 11 minutes. A four-hundred foot roll of 16mm runs at 36 feet per minute, and yields about 11 minutes.
Therefore, you should realistically budget at least 15 minutes of audio per film magazine. In other words, 60 minutes of audio should handle up to four film magazines.
If you are shooting long takes, especially interviews, or the director likes to talk a lot before calling “Action” -- then reload early enough to avoid any risk of running out during a take. Be especially conservative if you are shooting in video, as opposed to sprocketed film. Video cameras do not suffer the same capacity limitations as film cameras, and takes could theoretically go on for very long periods without having to stop for a reload.
Very often, the Sound Mixer will be asked to provide the recording media and to bill the production company. Don’t feel guilty about making a slight profit on the transaction. If the company wants to “save money”, then let them foot the bill to inventory all of the supplies up front, not on a pay-when-used basis.
You are the one laying out the cash to buy enough media for the shoot plus plenty of extra (just in case), but will only be reimbursed for what is actually used. That means that your cash will be tied up in media stock until the next shoot. You cannot return unused stock to the dealer, since no respecting professional would ever want to go out with raw media that someone else may have subjected to excess heat, etc.
Batteries
Just about everything on your soundcart operates from batteries.
Even if you have AC adapters, it is still better to run off of batteries in order to avoid the risk of AC induced noise. The same principle that lets the “plug in to any outlet” intercom upstairs in the baby’s room be heard on the intercom downstairs in the living room applies to professional recording. Noise travels along electrical wiring, even when the outlets are on different circuits.
Never buy batteries on sale. Batteries get put on sale when stores have too many of them, and they have been sitting around in warehouses too long.
Purchase all of your batteries from a reputable supplier. Check some of the batteries at random with a digital voltage meter to insure that they are fresh and putting out full capacity.
The industry has found that overall, the Duracell and Energizer brands of batteries seem to be the best. Also, their two-color design makes it easy to orient the batteries correctly, even in dimly lit environments.
Used batteries should be tossed away immediately. Don’t put them back into original boxes or even store them near your equipment, lest someone mistake them for new. A number of Sound Mixers give small BAGS (never the original boxes) of used batteries to other members of the crew for use in non-critical equipment such as flashlights.
Other Sundries
Other items that you will need include: rolls of 1” cloth camera tape (white, black, and perhaps colors); 2” cloth gaffers tape; 1” surgical tape; rubber bands; safety pins; marking pens; printed sound reports; spare flashlight (to replace the one you will loan to someone and not be returned); spare pocketknife; spare mini-tool kit; Static Guard spray; ACE bandages; alcohol prep pads; canned air; electronic cleaning solvent; cheesecloth for wind protection; acoustafoam; velcro; condoms for waterproofing mics and wireless; and perhaps even handcuffs & chain for securing equipment cases from being quick-snatched.