In any given situation you will need 2 channels however when it comes to film production the editors and directors will take as much as they can get. And I…I want them to have everything they need to get high quality sound for the project.

So here’s what we’re doing:

We decided to try out the Focusrite Saffire Pro 40 for a web series called Bachelor Gourmet. The Focusrite Saffire Pro 40 It’s a 10 input 10 output audio interface. Basically we ran this straight into a MacBook Pro running Nuendo. This gave us many capabilities. I am able to run 8 channels (all XLR) easily into Nuendo and run them back out in any routing I choose. Typically you need one output per Boom so the Boom Op can hear what they are miking (seems obvious but you would be surprised how many people don’t listen to what they are recording). Next you need an output to go to the “Village”. Now with this system you can have whatever configuration you want along with the ability to premix the entire production. It’s wonderful and scalable.

Issues:

Power
The primary issue with this is working in a setting where power is limited. Therefore you need to purchase a silent generator or battery inverter with rechargeable battery.

Software
Now for some reason the software (Sapphire MixControl) has a “device mode” which can hinder your inputs. Basically sometimes it can default to safe mode. Safe Mode will lower your gain making it impossible to get your levels right without bringing the gain completely up.
I have seen the device mode being really easy to get to on other computers. However, on mine it was impossible, well….inaccessible is more the term as I simply could not find it. So I brought the gain way up and had another issue. No Limiters.
Now, I’m looking into this currently as the Sapphire Pro 40 does come with a plugin suite that works with the MixControl thus providing compressors, EQ’s, and limiters.

Sync
The last issue with this audio configuration is the lack of sync. Ultimately we would either incorporate an external device for sync or we may end up with a MOTU Traveler mk3 as this piece does have sync. Currently there was no need for this as the takes were fairly short and we simply don’t have the budget for it.

So overall, a great learning experience. We were using 6 channels simultaneously on our last shoot and it worked out wonderfully. It’s nice when the audio is already where it’s going to end up and pre-mixing is such a great thing.

Rock’n'Roll Rentals (Austin-based rental company with Film and Live Sound packages and great prices) has been posting some of the new products from TASCAM, including the DR-680, a 4 to 6 channel field recorder that looks real slick and records up to 24-bit/192kHz. The only drawback-a major one-no timecode. Also, they are coming out with a 8 to 10 channel beast, the HS-P82. This is a ridiculous, heavy-duty field recorder with all sorts of functionality including a touch screen, SMPTE, Wordclock, and more. The HS-P82 is definitely on my wish list this year as it is nearly an all-in-one unit for location recording.

We started working on improving our studio space to incorporate a nicely sized Isolation booth for Foley, ADR, and any other recording needed.

Why Film?

Simply put, I feel that working in film is more of a creative industry. I’m not saying working with Artists (music) isn’t creative, it’s just not very creative for the engineer. What do we do? Primarily I hit the record button and do as I’m told. Reverb, delay, compression, etc….

Do you ever watch a movie in the theater or at home and become immersed in the story? This wouldn’t happen without the sound. It’s the mood and the atmosphere that follows the picture that brings you inside.

Ever wonder how they created the sound of the Batmobile in Batman Begins? Well, there’s a lion in there and probably a vacuum cleaner. But when you’re watching the movie you don’t think “hey that’s a vacuum and a lion!” you think, “That’s the batmobile.”

It’s really amazing and that creativity in the sound effects alone is awesome as well as the cues and mood created by the music/score. If you watched a scene taking place in a subway station, you would expect to hear subway noise, not the crowd noise of a baseball game. To create these soundscapes require not only the actual sounds but layers and layers of other sounds.

Anyways, I urge everyone to watch the special features in DVD’s, there is some awesome stuff to learn. I just wanted to give some of my personal opinion in our switch to film.

If you need Location Sound Recording or Post Production sound give us a call or email us!

Regards,
Ryan Mozek
Head Engineer
Placid Sound Productions

Just wanted to let everyone know about some great resources. Since we’ve jumped into the Film scene we’ve started going to certain networking groups. It’s been great to meet other like minded individuals who all share the same goal–make awesome films.

So here’s the deal:

Austin Filmakers Meetup – This group is made up of just about every film position imaginable and several of the group members collaborate on projects.

WHO: Everyone in film
WHAT: AFM usually has some sort of activity happening at he beginning of every meet up.
-Previous meet ups have had guest speakers (such as Ken Recter of IATSE), activities educating the group on different facets of the industry.
WHERE: Various Locations in Austin (Ex. Stompin Grounds, Dave & Busters, Sherlock’s Pub, Spiderhouse, etc..)
WHEN: Every Monday usually at 7pm

The Network Austin Mixer - This group is of course a Networking Mixer for Film industry professionals. You’ll see professionals of just about every discipline.

WHO: Everyone in film, there are a bit more actors and casting agents at this event than at AFM. Although, this group attracts at least 50 or more attendees at every mixer.
WHAT: Typically there is a guest speaker or panel and then networking.
WHERE: Mother Egan’s Irish Pub
WHEN: The second and last Wednesday of the month at 7pm

Good luck networking!

Musicians like The Postal Service have been doing this the old fashioned way (I hear that’s how they got their name) for quite sometime. But to have that at your fingertips is simply awesome. I urge all musicians to embrace these technologies to at least learn from one another. It’s amazing what happens when you take one guitar line and hand it to five different drummers. The results can be astounding.

So go out there and log in to the service of your choice and begin working with people all over the world. And if you need help setting your levels or anything at all feel free to email me rmozek@placidsound.com