Holophone H2-Pro mic captures surround elements for independent film

May 10, 2010 10:20 AM

    
The Holophone was used to capture the fire of a burning house including the pumper trucks at high rev, the sounds of water coming out of the hoses at high pressure and indistinct yelling and talking of firefighters in the background.

The Holophone was used to capture the fire of a burning house including the pumper trucks at high rev, the sounds of water coming out of the hoses at high pressure and indistinct yelling and talking of firefighters in the background.

For the independent film “Fireproof,” shot in Ontario, the producers were faced with recording a rich tapestry of different sounds — including burning buildings — simultaneously in a single take.

Production sound mixer Rob Whitehurst and sound designer and post-audio mixer Nick Palladino used Holophone’s H2-PRO surround microphone to do the job. The team needed to record as much of the atmospheric sounds as possible in order to create a more realistic experience for the viewer.

The mic was used to capture the fire of a burning house including the pumper trucks at high rev, the sounds of water coming out of the hoses at high pressure and indistinct yelling and talking of firefighters in the background.

It was also located on a side of the street to capture surround audio of the fire trucks driving by and was located inside the trucks in order to offer a more realistic sound perspective.

Principle dialog and general sound effects for the film were recorded using a Sennheiser 416 short shotgun mic and Lectrosonics 411A wireless systems into a Sound Devices 442 mixer. The signal went straight to a computer hard drive through an Apple G5 workstation.

Six channels from the Holophone were recorded into Pro Tools on an Apple MacBook laptop, making for a light and portable field recording setup. No mixing, signal manipulation or processing was required.

The H2-PRO surround-sound microphone is designed for capturing discrete 5.1, 6.1, and 7.1-channels of surround sound for all professional audio applications. It is compatible with all standard analog and digital I/O devices that accept up to eight channels and provide phantom power including hard disc-based recorders, multichannel preamplifiers, standard multichannel I/Os, and all mixing consoles.




Want to use this article?
Click here for options!
Get Copyright Clearance

Share this article

blog comments powered by Disqus

 

Current Issue

Online captioning compliance

May 2012

The FCC has issued captioning requirements for all online video. Learn how to meet the requirements of the new rules and how to automate the technical process.

Read More articles...

Related Newsletter

Transition to Digital
Provides readers with weekly timely updates on FCC actions, industry news, and station build-out schedules.

Related Posts


Confused about the terminology in an article? Find definitions of common terms and abbreviations in Broadcast Engineering's Glossary.

 


Video Compression, Editing and Displays

Video Compression, Editing and Displays

Video compression, editing and displays is an in-depth tutorial on MPEG compression technology, editing MPEG content and evaluating color video monitors written by long-time video expert, trainer and writer Steve Mullen, Ph. D.

File Based Technology and Workflow

File Based Technology and Workflow

File-based technologies have replaced video tape methods for a majority of production and broadcast operations. The worlds of AV and IT are coalescing to create new methods and workflows for media

Sound Off Podcasts

 

Broadcast Engineering Digital Reference Guide

Browse Back Issues

Back to Top