They make it sound easy, but my experience on the set is that suits and when you try to place it on ties and stiff/starchy fabrics it always make crinkle noise and lavs pick it up no matter how you lav it on the body. Also i avoid putting any adhesive products on mic heads like moleskin, joe sticky stuff because mic can pick up pealing noise from adhesive. i like using products like hide a mic mounts and ursa mic mounts that create distances from mic and body/clothing.
Great stuff as always Andrew. I think it would be good to SHOW these unusual placements . Many, many videos and sound people talk about placing lavs in the hair, under a hat, wig, ear, and so on - the unusual places, but none I've seen show how, and more importantly record the actual dialog so you can her the differences, and, how to match these different sources. OK...that was a lot. :)
What wasn't covered was taping down the first foot of cable coming from where the cable joins the mic. This is the most challenging task of avoiding clothing rustle since this area of the cable is very sensitive to noise.
I needed this. I would love to see a video where you follow the sound department on set during a scene to see how they put all this into practice. A short "on-set experience" that shows everything from the prep, to the placement, to the scene itself, and how it all sounds in the final edit. Maybe do a couple different scenes as well like a dinner table, a car interior, a busy city street, an action/fight scene etc. Seeing a professional prepare for a scene and then execute would be extremely useful! If there are any issues to clean up in post as well that would be great to see.
Love this! I’ve seen too many tutorials where the talent they use to show how they attach the lav is wearing clothing that’s relatively easy to work with, but that’s never real life for me because I mostly shoot on short notice and a small production (no costume dep.). That being said, I’d love to see some tutorials on more run-and-gun audio setups whether that be the gear to use, how to pack it all, how to set up, or whatever you guys think would be useful! Thanks!
I love that you guys aren't just about selling your (really awesome) products. (I own the Deity Connect System, myself) I love that your videos are all about learning the art of sound in video, getting beginners to learn how the pros do it. It's even great that you're showing how your products can be used in tandem with non-Deity products. Really effective.
How to make natural-sounding ADR (and probably what ADR is)! We've all had moments when the sound didn't turn out just right, so how do you replace it so that you don't have to have an expensive reshoot, but also sound natural with the other recordings that sound good?
So refreshing to see these types of videos helping improve the quality of a craft we all love! The area that interests me the most (and hopefully many others) for your next video would be the use of lavs on talent outdoors in windy conditions. This could be wearing many layers of clothing, big jackets, on a boat, riding a bike etc. Thanks again for the channel. Whatever the next tip is I’ll be watching!
Great stuff! This was a really great brush-up for me. It could be really valuable to do a video about setting audio for events. Stuff like using splitters to get a feed right off of a podium mic when you don't have access to a house board, or how to set your levels if you have the opportunity for a sound-check. I know a video like that would have helped me quite a bit when I was first starting out in the wedding game.
Deity always delivers the best lessons to go with the best tools! Next video... How do you make a LAV sound identical to a shotgun in post? Keep doin it Deity... Send me that transmitter system!
so informative. For sweats and thin t-shirts...I use the ankle belt and run the mic all the way up to the sternum...in case the t-shirt comes off or is blowing in wind. the pants are usually fairly thick
Hi there! I'm still new to videography, doing mostly freelance work and RU-vid content (no experience on real sets). I came across your product (the V-mic D3 Pro) because I was looking to upgrade my shotgun mic, n' I saw a few recommendations on RU-vid. For someone like me, who does a lot of low-budget shooting, it would be really useful to understand the in's and out's of using the V-mic D3 Pro. I think a lot of newbies like me would love knowing how to set a low cut limiter, what audio recorders to pair the mic with, etc, all before receiving the product. Thanks a lot for the high quality videos. Just the right amount of info and amazingly--no filler!! :D
again a big thank you to Deity and Andrew for coming up with this video, very very useful for budding production sound mixers. Would love to see more in depth and elaborate videos on the same topic as getting your production sound right is one of the most important ingredients of any film. Would be helpful if you can make a video on the different sound accessories that we use on location and their purpose like hush heels, blankets, rubber mats etc.
Finally a dedicated video that just lays it down! Thank you! Also the next video idea “How to edit dialogue audio that’s recorded on a lav mic both indoor controlled environment and outdoor busy noise area”
Great work Andrew! Thank you for showcasing so many cool techniques! Great to see the URSA Straps & Pouches in action. Love the moleskin sandwich too :)
Great video! I use many of these techniques. One thing you guys didn't cover that I've heard about: using a foamie to separate the transmitter antenna from the skin. The idea is to prevent perspiration on the skin from affecting the radio signal. Have you found this to be an issue? My suggestion for an upcoming video is "Frequency Management and Coordination Best Practices" because beyond scanning every location, I'm not sure what I can do as a mixer to get a clean band. Thank you!
Nice! I like this one. Prep to think about before a feature film or other long project. Normally I want at least the script (a shot list is a bonus), what camera(s) they're using and FPS. Plus photos (feeling in person is even better) from wardrobe is handy. And if they're doing exteriors try to make sure they rent a generator from a proper film rental house! Not some random sh*tty noisy generator
I think a video about how to handle multiple input sources at a time might be helpful. Sometimes I find myself trying to record a boom as well as a few lavs. Great video too - learned a ton!
A good idea for a next video would be to show the workflow of a large scale production. Great video by the way. Its always nice to find instructional videos like this.
This video has been on my Watch Later playlist for a while now, and I was going to skip it but I'm glad I didn't. I found this video very informative and I learned a lot.
Very good one. Thanks a lot! From my perspective (I run a channel about video editing) I think you could make a video about marking tracks and sound management on the set so that the editor has data to work with. For example, utilizing iXML files, timecode sync across multiple devices etc. BTW I'd be more than happy to collaborate on such a video and make a supplementary one :)
I'd love to see a follow up to this video looking at how to best avoid clothes ruffle noises. I've used most of the methods you showed here and very often I still get noise from clothes moving. So would love to see how you overcome that and perhaps some examples? You showed how to setup the lavs, but we didn't hear what they sounded like. Thanks.
Wow - the best video on this.. ever. I think your next video should be on matching mics when you have 2 different mics on people for a scene, how to make them sound similar.
Excellent tutorial! Seriously one of the most thorough ones I've seen on how to place lavs. Idea for the next video: Take us through the choices you make for a scene from scouting to wrap including acoustic treatment, planning your plant mics, concealing cables, boom placement and shadow control, etc. (Might be a good interview video in which you talk to a couple of location sound mixers so we get different perspectives on each of the choices.)
I would love to see a video about different tension releases. I feel like there are plenty of times where my placement is great and everything is totally hidden, but without a tension release, you can have so many problems.
Great video! Really appreciated the athletic wear section as that's something I've had challenges with. Question about the bow tie example though: Wouldn't that be too high? I thought once you breached the shoulder line that the sound landscape became problematic?
@@DeityMicrophones Right. I think I remember seeing you make a DIY spacer for tie knots from a makeup sponge or something. My problem is I hear some "rules" about placement, and I just trust them because I don't have time to be trying several placements on a rapid shoot. Is there any merit to the "never above the shoulders" thing, in your experience?
Hmmm, "never above the shoulders.".... Well If you were to place a mic under the chin directly you can suffer from chesty sounding audio. Some lavaliers are brighter than others and feature a natural roll off to avoid those deep tones. And if you place it on a shoulder you can get super dramatic shifts in volume from head turns. But you can also plant a lavalier in someone's hair, brim of a hat, or even just above their ear.
I think some great insight would be, since the new Deity Wireless is over 2.4GHz & 5GHz, strengthening or increasing the range of your wireless signals. Obviously most of us are familiar with traditional bands in the MHz world and how to get better distance using antenna/fins so some insight on products you’d recommend and proper deployment to get the most out of your new system. I did my first feature doing location audio recently and Deity was my number one source for best practices and how-to’s so I can’t thank you enough for helping us greener sound guys out!
Hey Aaron. Sadly our hands are pretty tied by the FCC on what we are allowed to show you in regards to get more distance or power out of your system. But we are allowed to show you best practices given the stock antennas we include, so that could possibly be a future video. Thanks for the comment.
I'd really like to see a video about how to hide larger lav mics. My high school theatre only has the big Audio Technica lav mics. These videos have been a great help, keep em coming!
Great informational video, this is by far the most comprehensive look at hiding lav mics that I've seen on RU-vid! It would be really cool to see a video about event audio. I shoot a lot events, and it's difficult to decide what mic to use (e.g. lav, shotgun, wireless, external recorder, etc.) and where to put it when I don't have access to plug into the audio board. It's especially difficult to capture sound when there are many presenters who walk around when I don't have the time or resources to mic each presenter. Keep up the good work!
> "lav, shotgun, wireless, external recorder, etc." If you have someone to dedicate to audio (which you should! And if not, push for the budget for it) then naturally they should have a dedicated recorder. As for lavs vs boom mic. "Boom is King" But too often camera dept / director / producers put you into very tough spots where it is impossible to get good sound on the boom, thus you should always be running lavs as well for insurance as your "get out of jail" card
@@SoundSpeeding Thank you for the advice. the problem is I mostly do event videos for non-profits who do not have the budget to even higher me at my normal price. Usually it's just me filming a few presenters on a stage, and the final delivery is a simple two angle video of each of the presenters.
What I love about a lot of these tips is that a lot of them can be done using inexpensive household items like moleskin. I personally would love to see a video on how to capture (acoustic) stage performances. I'm often asked to record stage plays where the actors aren't mic-ed up and where they are constantly moving across the stage. How could I capture the best possible audio in this scenario and what types of microphones should I use.
This was a great rundown. I clearly need to invest in plenty of straps! I'd be really interested to see a video on how to balance big fluctuations in recording levels, like dialogue that jumps from whispers to yells, with possible sudden background noise like door slams, smashed glass, gunshots.
It would be very interesting in how to dial in the lav's volume on your recorder for each position and with all the different placement styles of a lav, because everything would sound different (or am I totally wrong?). Can't wait to see it!
It would be cool to see a video about when to use all the different kinds of microphones. Hands-on examples like in this video would be great for this aswell.
Make the next video about RF distribution i would love to know more about RF singles and how they work. Also i would love to see movement test to see how good the mics sound in each outfit.
I kept getting this weird static sound from a lav on set, but only when we were rolling. I checked the mic. It was fine. Transmitter? Fine. The Director said, "Action!", and I'd get the noise again. It was driving me crazy, until I realized the actor was so nervous, that when the camera started rolling, he stared shaking (micro-tremors). I quickly talked to the director, and I grabbed the boom and shotgun mic. Sometimes, a lav just isn't going to work. Gotta be flexible. I also had a time where I needed to mic an actress. She was a beautiful Latin woman who gave me a look, and (with no hesitation) pulled her shirt open for me to apply her lav. Caught off guard, I prepped the lav, handed it to her, and said "I'm going to have you put this here...", pointing to where I wanted it. I later found out she was the daughter of the production company's owner. She was just having fun, but it's always better to be safe (and professional), than sorry... :)
GREAT teaching video! Learned a lot. Could you put buy links for the items used? Neopax, Mole skin, Transpore Medical Tape and other tapes used, URSA belts used, Deity mics used, Bra clip, etc. This will REALLY help.
I think it could be useful to see tips for recording sound in more adverse weather conditions. Say you're recording location sound for a documentary and it's raining on a shoot day or out in the cold but still have to shoot. What tips would you have for that?
i'd like to see an extension to this video on lav and transmitter placement for instructionals (like martial arts) which involve grappling and body to body contact
Literally came back from a shoot wanting to learn more about this and wa-la here it is VIDEO SUGGESTION - Weddings. Where to put on the bride and or where best to mic for getting the vows on a wedding (when theres no venue audio system, just the couple talking)
Thanks for your insights! A video about safely transporting maintaining and storing gear would be great. Seen too many lavs put away covered in actor juices.
I'd like to see a video on documentary sound recorders, I'm always amazed by sound recordist friends who are able to get great recordings in locations out of productions control.
I know you guys already covered recording audio outdoors, but I'd love to see a video on how to record audio in situations where there is challenging background audio such as waterfalls, construction, traffic, etc! Inquiring minds would looooove to know. Thanks!
I’d love to see a video about managing/working with audio tracks in post, or even a behind the scenes video of setting up/working on sound on a real set.
Great video, love it. keeping me entertained while I get the car fixed. Would love to see a video (or series) on building a sound cart and the choices going into it.
Great video! I think a good idea for your next video would be on foley recording. We focus a lot on dialog recording, and as essential as good production sound is, the addition of all the sounds of other physical elements that characters interact with can really bring a film to life. Some techniques and information on the dark art of Foley would be a welcomed addition to this already excellent channel. Thanks again!
Here are a few ideas for your next show; hiding a lav in the hear line, hat or glasses. Recording sound in and around a loud race car, including the driver (I can help with that one). How to quickly record sounds to support a cinamatic vlog style b-roll.
I love these tutorials! What I would like to see is how you match the audio between a lav and boom or even more generally just matching different mics. It feels like mine come out sounding like different video clips that don’t quite match up in post look 😬
Hi great video. I’d like to see a video how you implement your range of mics and lavs in different scenarios. And how they differ from each other and which mics suit which acoustic rooms or sound spaces eg. Loud or quiet, inside, outside scenarios and give examples on how to use them in a real time work flow. Thanks.
Awesome video. I'd love to learn how to capture sound at a distance. For example. Sports standing on the sidelines trying to get clean audio from what's happening 15-20 yards away from the mic. Desert/ Open field dialogue but maybe no place for a lav or plant mic.
The big point of wiring talent and why it's nuanced is because of how it sounds! I would've liked to actually hear how the mic placements sounded with movement/dialogue etc
A video about how best to tackle different interview situations would be nice, especially in loud environments. How to place the interviewpartners and microphones relativ to the noise, which on/off-screenmics to best use in which situation?
