Placement is key. But wild critters make terrible actors. No respect for =
the schedule. And otherwise oblivious to the fact that they're supposed to=
be performing. The further you are from the subject the more gain you hav=
e to apply. The more gain you apply, the more you amplify the self noise o=
f the device(s) and other unwanted noises the might be louder and/or have g=
reater proximity to the mic(s). Some minimal control with directional mics=
and dish or boundary tunneling of the desired sound(s). But nothing is mo=
re ideal than having proximity to the source.
Being a light guy you might appreciate this one. There's a new kid on the =
block dubbed the Arri Alexa. It's an HDR (high dynamic range) video camera=
that requires far less light. And maybe Red Scarlet to compete in that re=
alm (someday). In that $5K to $10K range of pro-ish HD video gear.
Not my clip, but pretty impressive for a flashlight and one other light emi=
tting gadget. Plus a well light city block at night.
http://www.vimeo.com/14065905
But yeah, proximity and placement cures all ailments. And provides a few o=
f it's own.
- James
> --- On Sun, 8/15/10, scratchpaws <> wrote:
>
> From: scratchpaws <>
> Subject: [Nature Recordists] Scratchpaw: Field Recorders and Microphones
> To:
> Date: Sunday, August 15, 2010, 7:31 AM
>
>
> And the comments about "placement" leaped off the page at me.
> In production lighting, placement is crucial when you work
> with "minimal."
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