Sync Playback Package
There will be times when it is necessary to play back a pre-recorded soundtrack on the set in order for talent to lip-synch and/or dance to it. Achieving lip-synch in filmmaking requires the same degree of sync precision in playback as it does in live recording.
To play back a soundtrack IN SYNC requires: 1) a soundtrack file recorded with timecode; 2) a portable digital audio recorder capable of reading the file and outputting the timecode); and 3) some means of making the playback track audible to the talent.
As for equipment, a basic playback package consists of a timecode recorder that can display the code of the playback track to the camera by means of a slate, an amplifier, and some loudspeakers.
Daily rental runs from approximately $120 on up for a recorder and timecode slate; plus $75 to $150 for the speaker/amplifier system.
Communications
The Sound Department may be asked to provide communications on the set.
The first type of communications you will be asked for is an audio feed from your mixing panel or recorder for the Director, Script Supervisor, and Client.
At its simplest, the Mixer would derive a spare headphone feed, plug in a long extension cable, and give the headphones to the proper party. If more than one person needed to monitor, then the Mixer would use some sort of headphone splitter box.
Crude, but effective.
There is a much better way, however. Wireless.
Industry practice is to deploy a miniature transmitter on the soundcart. Anyone who needs to monitor the soundtrack is given a miniature receiver along with headphones. Eliminating the long extension cords saves a ton of time, permits the Sound Mixer to move the soundcart as needed, and allows the listeners to roam freely about the set. This is referred to as Assistive Listening.
Listener freedom is very important to the Director. Prior to the use of wireless, Directors were notorious for destroying headsets at the rate of a few per day -- since they inevitably would jump up from their chairs and rush onto the set, usually neglecting to remove their headphones FIRST.
The industry standard for wireless monitoring is the Comtek System. Transmitters rent for approximately $30 per day; and each receiver rents for around $25 per day. Figure on three receivers, so budget approximately $100 or so per day for Comteks.
Walkie-talkies compose the other main form of on-set communication. A professional grade walkie-talkie -- featuring 5 watt output, 4 or 8 channels, and frequency assignment on the motion picture bands -- rents for around $10 per day. Small productions will commonly ask for at least four radios; larger productions may want as many as three dozen. Sometimes production companies will use cellular phones with instant talk features, but dedicated walkies are remain the more practical solution for most crews.
Expendables
Besides budgeting for personnel and equipment, don’t forget about the expendable items. On even a medium sized production, the bill for these miscellaneous, yet important, sundries can get too expensive for the Mixer to absorb out of his/her own wallet.
Recording Stock (computer media)
Make sure it is clear who is responsible for ordering, buying and bringing the recording media. Don’t automatically assume that the production company is bringing it, the cameraman, or the soundmixer
Usually,but not always, the production company or the camera crew will be responsible for the picture media. But the media used by the sound department in their audio recorders and computers are generally our responsibility.
Remember, we need memory cards for the recorders. External hard drives to archive the audio files to our laptop computers. CD or data DVD media to copy the files in order to be turned in each day to the editor.
How many gigs of storage will you need? In terms of the audio recorder, it will depend on what format you are recording in. For instance, each gig will hold approx 90 minutes of two track audio at 16bit/48k . So a four gig card can hold up to 6 hours of audio.
However, if you are recording to four track, then cut that number in half. Four gigs will hold up to 3 hours (45 min per gig).
The nice thing about memory cards is that you can reformat them and reuse them over and over. You only need a small handful of them.
A typical routine is to record production audio for awhile. When there is some down time, remove the partially used card from the recorder and immediately replace it with a fresh one, so that you are always ready to go.
Insert the used card in the card reader of your computer, and transfer the takes to the hard drive (or external hard drive). If necessary, use the computer to rename the audio files to match the long script numbers shown on the official clapsticks. Note that many field recorders do not easily allow the user to type in complex scene/take numbers, so just use the simple (eg one thru ninety-nine) numbering system in the recorder, and rename the takes later on. Have two columns on your logsheet: one for the recorder take number and an adjacent column for the formal scene/take number.
After you have completed the transfer of the audio files to the computer, you can reformat the card so that it is ready to re-use. At some point in the workday, you can burn a copy of the day’s audio onto a CD or DVD to turn in as dailies.
Another way to estimate your audio media needs is to find out how much film stock has been budgeted for. A one-thousand foot roll of 35mm runs at 90 feet per minute, for about 11 minutes. A four-hundred foot roll of 16mm runs at 36 feet per minute, and yields about 11 minutes.
Therefore, you should realistically budget at least 15 minutes of audio per film magazine. In other words, 60 minutes of audio should handle up to four film magazines.
If you are shooting long takes, especially interviews, or the director likes to talk a lot before calling “Action” -- then reload early enough to avoid any risk of running out during a take. Be especially conservative if you are shooting in video, as opposed to sprocketed film. Video cameras do not suffer the same capacity limitations as film cameras, and takes could theoretically go on for very long periods without having to stop for a reload.
Very often, the Sound Mixer will be asked to provide the recording media and to bill the production company. Don’t feel guilty about making a slight profit on the transaction. If the company wants to “save money”, then let them foot the bill to inventory all of the supplies up front, not on a pay-when-used basis.
You are the one laying out the cash to buy enough media for the shoot plus plenty of extra (just in case), but will only be reimbursed for what is actually used. That means that your cash will be tied up in media stock until the next shoot. You cannot return unused stock to the dealer, since no respecting professional would ever want to go out with raw media that someone else may have subjected to excess heat, etc.
Batteries
Just about everything on your soundcart operates from batteries.
Even if you have AC adapters, it is still better to run off of batteries in order to avoid the risk of AC induced noise. The same principle that lets the “plug in to any outlet” intercom upstairs in the baby’s room be heard on the intercom downstairs in the living room applies to professional recording. Noise travels along electrical wiring, even when the outlets are on different circuits.
Never buy batteries on sale. Batteries get put on sale when stores have too many of them, and they have been sitting around in warehouses too long.
Purchase all of your batteries from a reputable supplier. Check some of the batteries at random with a digital voltage meter to insure that they are fresh and putting out full capacity.
The industry has found that overall, the Duracell and Energizer brands of batteries seem to be the best. Also, their two-color design makes it easy to orient the batteries correctly, even in dimly lit environments.
Used batteries should be tossed away immediately. Don’t put them back into original boxes or even store them near your equipment, lest someone mistake them for new. A number of Sound Mixers give small BAGS (never the original boxes) of used batteries to other members of the crew for use in non-critical equipment such as flashlights.
Other Sundries
Other items that you will need include: rolls of 1” cloth camera tape (white, black, and perhaps colors); 2” cloth gaffers tape; 1” surgical tape; rubber bands; safety pins; marking pens; printed sound reports; spare flashlight (to replace the one you will loan to someone and not be returned); spare pocketknife; spare mini-tool kit; Static Guard spray; ACE bandages; alcohol prep pads; canned air; electronic cleaning solvent; cheesecloth for wind protection; acoustafoam; velcro; condoms for waterproofing mics and wireless; and perhaps even handcuffs & chain for securing equipment cases from being quick-snatched.