From: Klas Strandberg <>
>
> Most film sounds of animals / birds are dubbed in post-production. The
> mic's you see with Rycote zeppelins are (only) used for interviews and
> guidelines for the sound man who makes the dubbing.
The traditional use of the shotgun on the boom in it's Rycote was to
record the dialog and everything else was dubbed in later. I expect it's
true now that even some of the dialog is studio recorded and dubbed in.
The limitation would be lip sync.
With ENG, short booms are used primarily to reach over the crowd of
other newsmen.
> You have to do what you have to do! I was once recording black terns on the
> Swedish west-coast and it was so windy that I had to use both hands to hold
> the Telinga.
> You had two kinds of wind noise - one which was "there" over the sea, sea
> waves and all, and another wind noise caused by the parabol and mic design.
> The first noise is a part of reality and the other part - caused by the
> dish and mic design - could be canceled completely by pulling my knitted
> sweater over the whole thing.
This, too is important for folks to realize. All the wind protection we
talk about is just for removing or reducing the unnatural direct effects
of wind on the mic. The natural sound produced by the wind is not
changed, it belongs, no matter how much we wish it did not.
> The new Telinga Hi-Wind Cover (under test) has a hole in the middle for the
> mic to point out. This autumn I will get in touch with the test people and
> hear what they say about it.
I use the solid Hi-Wind cover, which I bought back when I bought the
mic. It's very effective. It is solid, no hole. I'm wondering what the
point of a hole would be? It would seem to make things worse.
Walt
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