影视录音常用设备.ppt课件

影视录音常用设备影视录音常用设备Sound systemWhat we need?lProduction–Microphone–Mixer–RecorderlPostproduction–DAW–Post recording system–Sound mixing systemProduction sound systemslmicrophone→ cameralmicrophone→ mixer→ cameralmicrophone→ mixer→ recorderlmicrophone→ pre amplifier→ mixer→ recorderEquipmentslMicrophoneslWireless SystemslBoompoleslMixerslRecorderslCommunicationlPlayback SystemslPower SolutionslWalkie TalkieslSound ControllAccessoriesMicrophoneslShotgunslLavalierslStereoslSurroundsMicrophones _shotgunslShotguns–Sennheiser MKH 416 Short Shotgun Mic–Sennheiser MKH 60 Super­cardioid Condenser Shotgun–Sennheiser MKH 70 Long Shotgun–Sennheiser ME 66 Super Cardioid Condenser–Schoeps CMIT5U Super Cardioid Shotgun Mic–Sanken CS­1 Short Shotgun Mic–Sanken CS3e Super­cardioid Condenser Shotgun–Neumann KMR 81 Shotgun–Neumann KMR 82i Long ShotgunHow to choose shotguns?lFrequency response–Low cut–High frequency boost–Out­of­axis frequency response lDirectional pattern–Cardioid–Super­cardioid–Effective pick­up angle (3dB sensitivity decreasing)cardioid 1300, super­cardioid 300 ­400lSensitivity lDynamic rangeSennheiser MKH 416lPower Supply: P or TSennheiser MKH 60Sennheiser MKH 70Sennheiser MKH 416 vs. 60 vs. 70型号4166070指向性超心型超心型(更窄)超心型频响40­20k50­20k50­20k灵敏度（mV/Pa）254050等效噪声级（dB）13(A)24(CCIR)6(A)18(CCIR)5(A)16(CCIR)最大声压级（dB）130125124重量（g）165150180Sanken CS-1lShort shotgunlVery sharp directivity in a 181.5mm length bodylFlat frequency response beyond 20kHz(on axis)lHigh sensitivity ­30dB/PalAccepts high SPLs. More than 137dB SPL (1% THD). With no distortion in close miking.lNarrow angle directivity over the entire frequency range.lOverrall rear rejection. 22dB/20kHz. 18dB/10kHz. 27dB/1kHz. 27dB/200Hz.lLight weight. Only 100g. Easy to operate on a boom pole.Schoeps CMIT 5 UlLow coloration of off­axis soundlEven greater immunity to wind noise than a SCHOEPS super­cardioidlDirectionality increases smoothly with higher frequencies, which results in a very balanced sonic characterlCapsule and amplifier are built as a single unitSchoeps CMIT 5 U _morelThe sound quality of the CMIT 5 remains consistent even if the microphone is rotated on its axis, since its directional pattern is the same in both the vertical and horizontal planes.Schoeps CMIT 5 U _morelThree pushbutton­activated filters allow the microphone to adapt to the recording situation–High­frequency emphasis (+ 5 dB at 10 kHz) enhances speech intelligibility, and compensates for high­frequency loss caused by windscreens;– A steep low­cut filter (18 dB/oct. below 80 Hz) suppresses wind and boom noise;–A gentle low­frequency rolloff (6 dB/oct. below 300 Hz) compensates for proximity effect.Microphones _supercardioidlSchoeps MK41lSchoeps CCM41Schoeps MK41 and CMC 6lSupercardioid with highly consistent directionality throughout its frequency range. High directivity, comparable to that of a short “shotgun“ microphone up through mid­range frequencies.–off axis attenuating even more than with a cardioid–directivity is highly independent of frequency, even sounds arriving off axis and reverberant sound are registered without coloration–The pickup is “drier” and less susceptible to acoustic feedback than any other SCHOEPS capsule type–Even distant placement of the capsule produces a very natural sound pickup. lThis is a real advantage over interference­tube “shotgun” microphones, whose directivity is very frequency­dependent – exceeding that of a supercardioid only at higher frequencies. Interference­tube microphones are notoriously sensitive to their position in a room, where the shifting patterns of reflections cause corresponding shifts in sound color.lGood to use in room. Schoeps CCM41lSimilar to MK41lCompact micSchoeps vs. 416lSchoeps话筒比416话筒更敏感，手持噪声和移动话筒的噪声都容易串入，用于同期录音时一般在前级加高通/低切滤波器。

该配件需单独购买Microphones _lavalierslLavaliers–Countryman B6/B3 Miniature Omnidirectional Lav–Countryman EMW–Lectrosonics M150 Omnidirectional Lav–Sanken COS­11 Omnidirectional Lav–Sennheiser ME 2 Lav–Sennheiser MKE­1/2 Omnidirectional Lav–TRAM TR­50 Omnidirectional Lav–Sony 77B/ECM­88How to choose lavalier?lNice soundinglOmni­cardioid–Less positioning problems (people moving their head all the time)–Less sensitive to wind and popinglGood matching to boom miclDynamic range (low distortion at high SPL)lRF interference resistancelPower supply (from AA battery or 48V phantom power on mixer or recorder)lEasy to hideCountryman B6lSmallest lavalier in the world–only one tenth of an inch (0.1 inch, 2.5mm) in diameter–Easily hidden in hair/costumes or glued on performers’ faces in film, theater and broadcastlChangeable protective caps–Moisture resistance–Color options (6 colors)–Shape the frequency response for different situations or to match other microphoneslLow distortion at SPL up to 150dB on 48V phantom power–Low handling noise–Excellent rejection of surrounding noise–High quality audioCountryman B6 kitslB6 lavalier microphonelKevlar cablelCapslWindscreenlTie clipslCarrying caseCountryman B3lSimilar to B6,but cheaperl0.2 inch in diameterlMoisture and perspiration resistant when used in hair, on the body and in bad weatherCountryman EMWlOmni­directionallVery low rubbing noiselHighly moisture resistance–Allows use near water or in intense weatherSanken COS-11DlOvercomes digital transmitter RFI (radio frequency interference)lWater resistantlImproved moisture resistancelOriginal vertical diaphragm designlOptimized for human voiceSennheiser MKE 2-ew GoldlOmni­directionallMax SPL 142dBSennheiser ME2 LavlUse with evolution wireless SK bodypack transmittersTRAM TR-50lMiniature Omni­directional Electret Condenser Microphone lMinimum sound coloration for universal use lEasily combined with boom microphones lTiny, lightweight and compact; easily concealed lExtensive range of mounting accessories lWide frequency response lVery low rubbing noise lInternal battery or 12­48V phantom power* (*with positive bias version only) lDetachable 250 Q power supply lAvailable in 4 colors: black, gray, white, tan lLarge range of connectors for direct use on a wireless transmitter lStrong, durable and reliable Microphones _stereolStereo–Sanken CSS5 shotgun stereo mic–Sanken CMS­10–Schoeps CMIT M/S set–Schoeps CCM 8 & CCM 4/41 M/S set–Neumann RSM 191 M/S set–Sennheiser MKH 418S shotgun M/S mic–Sennheiser MKH 30/60 M/S setSanken CSS-5lFirst stereo shotgun–3 mode switchable lMONO (shotgun)lNormal STEREO (1200)lWide STEREO (1400)lSuperb rear rejection at 180 degrees even in low frequencieslMONO­STEREO compatibility. Mono and phantom center have the same sound characteristicsSanken CSS-5lMONO modesharp directivity is maintained over a wide frequency range for the aimed frontal sound sources, using the combination of a second gradient microphone and a line microphone. It is significant that the CSS­5 picks up the chosen sound source very clearly even in a noisy ambient situation or in a long reverberation space.lNormal modepicks up the targeted sound as well as extremely accurate stereo localization. STEREO angle is 120°.lWide modedesigned for stereo recording of sound effects and environmental information where dialogue will be dubbed in at a later date. This mode allows a wider 1400 stereo width.lMono-Stereo CompatibilityIn stereo recordings, the frequency response of the MONO summed output often exhibits interference, or comb filtering. This phenomenon is caused by phase differences between the Left and Right signals. This does not occur in single point recording. Sanken CMS-10lSwitchable mode –Very sharp mono­shortgun–Stereo (with pick­up angle 1270)lShort length (210.5mm) and light weight (170g)lUsing PPS diaphragm. It maintains high durability and quality even in high humidity environmentslSpecially designed suspension holder. Can isolate camera motor noise in camera mount uselBasic design is M­S. but it include M­S to L­R circuitry. and allows a direct L­R signalSchoeps CMIT M/S setlComplete set for M/S stereo with "shotgun" microphone CMIT 5 U for the M channel and a CCM 8 Lg compact microphone in the S channel Schoeps CCM 8 & CCM 41 M/S setlCCM 41/ MK41 for “M” signallCCM 8 for “S” signallCan be set up at quite some distance from the sound source Neumann RSM 191 M/S setlOne hyper­cardioid capsulelOne figure­8 capsulelMTX 191 A matrix amplifierlAdjustable pick­up angle and high directivity–1700、1500、1250、1000、750、600Neumann RSM 191 M/S setlCapsules in detail and connectorSennheiser MKH 418S M/S miclShotgun M/S micSennheiser MKH 30/60 M/S setlMKH 60 super­cardioidlMKH 30 figure­8Microphones _surroundlSurround–Sanken WMS­5 5.0 surround microphone–Schoeps Double M/S surround microphone–Schoeps IRT Cross surround microphoneSanken WMS-5 5.0 surround miclWorld’s first 5­channel surround mic self­contained in one mic bodyl5 surround outputs (L/C/R/LS/RS)lCompact size–235mm(length), 235g(weight)lPrecise phase coherent M.S.M capsule layoutlMS to LR Matrix circuitry in the mic bodylIdeal 5.0 sound localizationSanken WMS-5 5.0 surround miclHow does it work? (Double MS)–The front “M” capsule is used for both C and front L,R–The “S” signal is for front L,R and rear LS, RS–The rear “M” capsule is used for LS and RS–For precise phase coherent, front M, back M and S capsules are set vertically on the same axis–The front “C” capsule has shotgun directivity–Stereo angle is 1200 (L/R, LS/RS)Schoeps Double M/S surround mic _supercardioidlA front­facing cardioid or super­cardioid “mid” mic and a figure­8 “side” mic, a rear­facing directional micSchoeps Double M/S surround miclAppearanceSchoeps Double M/S surround mic _shotgunlCMIT Double M/S setSchoeps IRT Cross surround miclWith compact mic CCM 4/41lFor ambient recordinglTransparent and spacious rendering of the acoustic environmentWireless systemslLectrosonicslSennheiserlZaxcomlRamsaHow to choose wireless systems?lFrequency rangelStability –True diversity–Auto dynamic controllPower –Concern to effective working distancelPower supply _AA battery or DClNoise restrainingLectrosonics 400 Digital SystemlOne UM400 transmitterlOne UCR411 receiverlOne M­150 lav or COS­11 lavLectrosonics 200 SystemlOne UM200C transmitterlOne UCR201 receiverlM­150 or COS­11 lavLectrosonics Quad Pack Systeml(4) UM400 transmittersl(4) UCR411A receiverl(4) COS­11 lavslA rack mount with power supplyLectrosonics UH400lPlug­on transmitterlMostly for hand­held micsSennheiser Evolution G3 SystemlSK 500 G3 bodypack transmitterlEM 500 G3 rack­mount receiverlMKE­2 gold lavSennheiser Evoluation G2 SystemlOne SK100 or one SKP plug­on transmitterlOne EK100 receiverlME2 or COS­11 lavSennheiser transmitter and receiverlBody pack transmitter SK100lPortable receiver EK100lTrue diversity receiver–Portable EK3241–EM100G2Zaxcom stereoline digital systemlStereoline digital stereo transmitterlENG digital receiverlCOS­11 lavsBoompoleslK­TeklAmbientlVDBlPSCK-TeklEasy to go? Light? All in one?K-Tek K-152lShort pole for film, long pole for videol5 sections, from 91cm to 386cmlAvailable wired with internal cable and bottom or side connector base, or unwiredK-Tek K-202lStandard film production polel5 sections, from 116cm to 513cmlAvailable wired with internal cable and bottom or side connector base, or unwiredK-Tek K-102lMost popular for videol5 sections, from 60cm to 267cmlAvailable wired with internal cable and bottom or side connector base, or unwiredK-Tek Avalon KE-110lDesigned for ENG, EFP, DV Productionl5 sectionslInternally wired, Female and male XLRAmbient QP 480lStandard boompolelLength 105­350cmlWired or unwired–Mono/stereo line for wired poleAmbient QP 4140lStandard boompolelLength 154­540cmlWired or unwiredAmbient QX 580lFor ENG and video marketl5 sectionslLength 80­330cmVDB lMedium –60cm­275cmlExtra large –110­560cmPSC elite mediuml5­section carbon filterlLength 66cm­251cmMicrophone AccessorieslWind restraining–Foam windshield–Zeppelin windshield–WindjammerlSuspensionRycote full windshield kitslFoamlWildshieldlSuspensionlWindjammerlPackage caseMixerslSound DeviceslAudio LtdlSonosaxHow to choose field mixers?lPortable (small, light, powered by AA or DC)lMic/line input channelslPhantom/T powering supplylMeter monitor (peak and VU)lSimple EQ and filterslOSC(1kHz at least)lOutput (mono/stereo/multi)lMonitor signal selectablelCuelTalkbackSound Devices 442lPortable mixer for production, ENG and filml4 transformer­balanced mic/line level input on XLR connectorsl2 transformer­balanced line/tape/mic level output on XLR connectorslContinuously adjustable input trimlVariable high pass filterlContinuously variable pan controllPhantom or “T” mic powering per channellSolo (PFL) monitoring in headphoneslOn­board MS stereo matrixlPeak limiters per channelSound Devices 442lFront, input and output panelsSound Devices 552lPortable production mixer with integrated two­track, digital audio recorder writing wave files to SD or SDHC media.l5 mic inputs with two stage gain control, limiter, variable high­pass, and solo monitoringlPre­ or post­fader direct outputs per inputlMultiple, balanced output connections, including 2 XLR, Hirose 10­pin and TA3lAES/EBU output option, on either XLR or 10­pin multi­pin, two connections for 4 channels of digital output, sampling rates up to 96kHzSound Devices 552 _front panelSound Devices 552 _input panelSound Devices 552 _output panelSound Devices 302lCompact production field mixerl3 transformer­balanced mic/line level inputs on XLR connectorsl2 active­balanced line/tape/mic level outputs on XLR connectorslStereo and MS linking of channel 1 and 2Sound Devices 302lFront, input and output panelsAudio AD146lPortable location mixerl6/8/10/12/18/24 inputs, 4/2 outputslMS matrixAudio AD245lPortable location mixerl2 stereo outputsAudio AD261lENG field mixerShure FP33l3 inputs, 2 outputsRecorderslSound DeviceslAATONlNagralFostexlHHBlSonosaxHow to choose recorders?lPortable (small, light, powered by AA or DC)lChannelslRecording medialTimecode functionlConnectorslLevel adjustmentlMonitorlStill need mixers?–Mic amplifier–Input level adjustment for each channel–Channel routing–Monitor modes shiftingSound Devices 788TlInput connectors–4 Mic/Line/AES XLR–4 Mic/Line TA3–4 AES DB15lOutput connectors–4 balanced­analog line / AES TA3–1 AES DB15l160G hard disk & CF card & external hard diskl12 channelslWith TimecodeSound Devices 744TlInput connectors–2 Mic/Line/AES XLR–2 Line TA3lOutput connectors–2 line TA3–2 AES BNCl80G hard disk & CF card & external hard diskl4 channelslWith timecodeSound Devices 702TlInput connectors–2 Mic/Line/AES XLR–1 AES BNClOutput connectors–2 line TA3–1 AES BNClCF card & external hard diskl2 channelslWith timecodeAATON CANTAR 2lInput connectors–5 Mic XLR3/XLR5–4 Line XLR5–8 AES SUBD15lOutput connectors–1 line XLR–8 AES SUBD15l80G hard disk & DVDl8 channelslWith TimecodeNagralKing of analog eralNagra 4.2 (double mono, analog tape ¼ inch) →Nagra 4S (stereo, analog tape ¼ inch) →Nagra D (open­reeled digital tape) →Nagra V (hard disk)Fostex FR-2 & FR-2LEFostex PD606l8 trackslRecord to internal HD / DVD­RAMlOn­board 6 channels mixerCommunicationslHME DX100lPSCSound ControllAuralexlPSC HUSH HEELSAccessorieslSound cartlHeadphones–Sony 7506–Beyer­dynamic DT48–隔音效果好lCableslPower solutionsProduction kitsENG kitCool cart?Where to get your production kits? lBuy –鼎润公司lRent–北影厂–鼎润公司HomeworklShure FP33 manuallFostex FR­2 manuallSound design theses reading reportlTest record。