Recording a stage play for a doc. film

[hki]

Hello Gals/Guys,
I have been asked to record a stage play for a friend. The play will also be filmed for a doc film. I have agreed to lend a hand. I know this is a little outside this forum's realm but I figured since the end product will be audio for post...I thought to come here.

I have a SD 744T, a Senn 416 and a Rode stereo mic. I have been searching for some good advice as to mics/ mic placement on a stage 60 X 60. We can rent more mics if I want to fly a few but I'm thinking that might not be needed? Input please.

I was thinking maybe a matched pair of omni's on either side of the stage and maybe fly something from the front center of the stage? More input please.. I also thought maybe putting the Rode as an audience mic? Even more input please....

Thank you guys/gals (for you Georgia)

[Craig F]

how do you want it to sound? like you are sitting in the theater (ambient) or like a movie (in your face)

[BRH]

Consider PZM mikes on the stage floor.

[Richard Fairbanks]

Is this a live performance or a "film style" shoot? I hope you are asking about those few microphones in addition to body mics. I cannot imagine trying to listen to, or mix, a play that is recorded like an orchestra! Maybe if its a shot-by-shot re-enactment for the camera you can use a boom. If it is live, the voices will not have much presence unless you get your mics close. Stage actors have a huge dynamic range and you will be trying to pull out whispered lines during your mix. That is hard to do when there is verb decay and HVAC noise! Body mics are required for flexibility in editing and remix. PZMs all over the stage are good for catching movements and covering yourself, and a few mics for hall image and ambience are smart, also. Honestly, more is better. I think if you don't have body mics you will regret getting involved!

[greglawrence]

I certainly agree with Richard!

I just recorded a live stage show which was also captured on video (one continuous shot). Just about all of the actors had E6 headset mics used with Sennheiser's Evolution wireless systems. These were the live engineer's choice but they worked beautifully for my recording. We also had mics on the stage and in the crowd.

If you only use stage mics you will get a very washed out sound (how much depends on the venue). If your recording is going to be used in a documentary (which will likely have audio that is very close and in your face) then it will seem very out of place and unpleasant.

I strongly suggest renting wireless solutions for the actors to wear (unless they simply refuse).

[philper]

For the KQED taping of the Berkeley Repertory Theatre's performance of the play "The People's Temple" we used 5 PZM type mics across the lip of the stage, a boom op sitting front row center with a Neumann KMR 82i following the action and direct feeds from the house sound system for the (very large number) of playback sources. There were some plant and body mics used in the show, but they almost never worked due to wardrobe and action issues. These were pro actors used to speaking to the back row, so level was not an issue. The cast was very large (30+) with many costume changes so a full wireless mic-up was not a possibility on their budget. For smaller shows such as PBS's "You Can Choose" series several years ago we did use lav mics for the cast (4 or 5) plus several wired mics for musicians, host and hall and did both a multitrack and a live mix. Unless you know the show you are recording very well (and it is performed in a very consistent manner), you have up to speed live mixing chops and know the console you are using very well it would behoove you to consider recording in multitrack and mixing later. The last big multi-talent multi-camera show I did was a total improv show--no preplanning whatsoever. The live mix (lavs, hall, plants, music, hosts etc) was a train wreck since there could be no rehearsal. With the multitrack we got the mix we wanted after the fact.

Philip Perkins CAS

[hki]

Wow, got me worried now! The play will be preformed by students of a Los Angeles Arts school. The play is about the LA riots and the actors will be all girls, It is quite unique.

I requested wireless mics but was told budget is an issue..when isn't budget an issue? So I'll once again have to do things on a shoestring and a broke one at that!

Got to think minimal but efficient, I have explained that this should be done correctly and more money should be found. The director is doing this out of her own pocket so....

[hki]

how do you want it to sound? like you are sitting in the theater (ambient) or like a movie (in your face)

Craig she wants it ambient.

[hki]

Hello,
I just heard there will be 22 actors with wardrobe changes..So the wireless are out. I am leaning towards the PZM's and the front row shotgun on a boom pole.. In addition to these would flying a couple of mics be an option?
Thank again guys for all the great advice

William

[Richard Fairbanks]

Are there set changes? Is some of the dialog downstage and some upstage? I would be concerned that mics only at the front cannot adequately cover dialog toward the back, especially when they turn this way and that.