 What kind of equipment would you suggest for an independent
feature film?
A basic sound package for theatrical production starts with a decent mixing
panel such as a Behringer or Mackie offering at least 4 XLR mic inputs with
48vPhantom, 3-band EQ, and Aux sends (for feeding the boom operator). One should
also have a portable cart to set it up on. AC is usually available on sets, but
remote locations may require an invertor and a 12v battery pack.
At least two or three condenser shotgun mics. The AT4073a is an excellent,
general purpose short shotgun. The AT4071a is a condenser full shotgun, ideal
for exteriors. The AT4051a or AT4041 are short range but extremely low echo --
perfect for tight interior shots. Exterior conditions will call for a good
windscreen, such as an Equalizer or full zeppelin system.
At least one good dynamic handheld mic, for loud sound effects and also for
narration.
One or two boompoles, at least 12 footers. Make sure there are suitable
shockmounts for each shotgun mic, such as the AT8415 or KSM. (Zeppelins include
their own mounts.)
Lavaliers for body worn as well as plant mic applications. Plant mics require
an open sound with good reach, such as the MT830, AT899, and ECM77. Open
sounding mics also cut better with overhead miking.
Proximity lavaliers such as the Countryman B3 and the ECM44 are useful for
isolating actors from background noise or other actors.
At least two good wireless units, such as the Samson UM32 or the Audio
Technica ATW-U101.
An assortment of mic cables, including 30 footers and some 50's. Use a duplex
cable to connect to the boom operator.
Professional headphones for the sound mixer and boomperson.
The type of recorder that you should bring is dependent on the budget and the
style of post production. Standard choices include recording straight to video;
Nagra 4.2; Tascam DAP1; and the Fostex PD4 timecode.
A small minidisk or DAT is useful as a backup recorder or to hide on an
actor.
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