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!