DIY Field Audio Kit
Audio for Video
Most of us have entered an edit session following what at the time seemed to be a successful shoot – perfect lighting, clean lines, smooth pans, precise focus….uh oh - that the boom mic was noisy as hell! How could you have not realized it in the field? Well, most of us utilize the awesomely convenient XLR inputs on our cameras to handle the usually simple audio recording options required. You can use a boom mic in one input and a lavalier in the other. This setup will usually suffice.
The Problem
We all use this set-up and probably all run into the same problems. The camera is now attached to something. The extra wires cause many inconveniences in changing set-ups and handheld work. And, you are monitoring your sound levels and quality from a camera which is not ideal. Shots are probably your number one concern when standing behind a camera - not audio. This run-and-gun solution works 90% of the time. For the other 10% when you need to impress: You have a client/interview/film that needs a little “wow” in it. You have an idea for something big with the “look” and being hassled with boom mic placement is a distraction that you can’t afford.
The Solution
By recording your sound independently from your camera set-up - You can be more creative, more mobile, and more precise. More subtleties can be realized and you free your eyes from level meters to the picture. If you are low budget, but maybe have an extra person on hand, make that person your sound guy/girl. The benefits of quality of sound will outweigh what this person could attribute as extra grip. This DIY field kit is easily set-up and operated and you can teach just about anyone how to use it.
The Set-Up
There are many solutions out there that range from all-in-one field recorders to complex 12 channel boards. The system described in this article falls somewhere between the two. The intrical piece of the system is how sound is interfaced digitally. This DIY kit is built around USB audio interfaces used for recording in home studios with Pro Tools - specifically the M-Audio Fast Track Pro. It gives you dual XLR or 1/8 pin inputs, 48v phantom power, and is powered by USB. I connect the Fast Track Pro to a Asus Netbook. These mini notebooks have just about everything that laptops have. You can run full operating systems like Windows 7 and since the screen is so small and the hard drive is SSD, the battery life is extraordinary (5-7 hours per charge). With software you have a couple of options – You can use Pro Tools (M-Powered in this case) or free audio editing/recording software such as Audacity.
The Advantage
You have endless options to effect the quality of recording “live” that you are not afforded with the cameras “level” controls. It gets your camera “wireless” from any audio devices which allows for freedom of movement. You now have a dedicated person for audio which enables a more concentrated effort for picture and talent. And, you have a stand alone system for grabbing natural or b-roll sounds without having to break out any camera gear. Give it a try and shoot me a message or comment with some feedback.
|JONNYHEE|
Step one: Be super! The kit that I use is assembled from old Super 8 camera lights. These lights were made to be mounted onto Super 8 cameras and usually output up to 650w at 120v. This is key considering that a 650w Lowel or Arri light can cost upwards of $800 each. These “super lights,” as I call them, can be found either around town or on eBay for sometimes as cheap as $10. What’s the catch? Well, there really isn’t one. Most are made of plastic which is probably the only downfall. Some of these supers come with the hot shoe mount. That’s OK because you can buy stand mounts for around $5 
Next: Stay in control. I suggest soft boxes. You can find these at B&H or eBay. The ones I use are cowboy studio’s soft boxes. They control the light just like the Lowel Rifa soft boxes. It has the option to have two levels of diffusion (outside and inside) with the two included diffusion clothes. You need to find a way to attach the speed ring to the light. The easiest way is to screw it to the ring of the barn doors. Some of the “super lights” come with barn doors, others do not. You can find them at B&H, but with everything else they sell, they can be pricey. So, when purchasing the “super lights” try and find ones with the original barn doors.
Lastly: Take a stand. You have to have stands for all of your new lights. The ones I use are Smith-Victor and can be found relatively cheap on eBay. Think quality over cosmetics. It doesn’t matter how ugly any of these components are. What matters is how well they make your subject look on camera.
Hey guys, I’m still here. People are fussing at me about the lack of posts on the site. The imbalance of work and more work leaves little time for jonnyhee.com, but I’m about to get back in the groove. Many updates to come on my new project entitled for now: “(type title here)”. OK. I haven’t got a title yet. But it is a short-subject documentary on the Middle Bay Lighthouse in Mobile bay. Click 
I said in the previous entry that I am not a “soft” kinda guy, so I prefer a harder lighting. Someone asked what that meant, so here we go! I found an example of what I consider is three-point-lighting at it’s best. The configuration consists of the following:
The first technique uses tungsten lights with the classic umbrella and diffusion paper. The second uses all softboxes. Though both very well lit, I prefer the first photo. The edges of the shadowing have harder lines. Notice the chin shadow on her lapel. Also, notice the sheen of her hair from the backlight. This feels more natural to me and the source of the light seems more believable. The second shot seems to be more of a photograph taken in a mall somewhere; bright and happy and a little bit washed. If the subject of your work is dark and you are looking for a more dramatic look, the soft technique doesn’t lend itself to be as versatile. When you back off of a soft set-up, it tends to just simply look dark; not dramatic.
I feel that everything else can be made or borrowed. I’m pretty set on the XH-A1 to shoot with. I work with Lowel lighting in TV and can’t find any reason not to spend the extra money for that quality. As far as audio is concerned, that will probably be another post. What do you think about the Lowel DV Creator kit (pictured)? It comes with 3 distinct lights with stands plus barn doors. It has a number of gels, umbrella, diffusion, etc. It costs about $1000. It’s uses for the purpose of the film will probably be limited to formal interviews with most other shots to be daytime/exterior. Would love some feedback.
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