影视录音常用设备.ppt课件

1、影视录音常用设备Sound systemWhat we need?ProductionMicrophoneMixerRecorderPostproductionDAWPost recording systemSound mixing systemProduction sound systemsmicrophone cameramicrophone mixer cameramicrophone mixer recordermicrophone pre amplifier mixer recorderEquipmentsMicrophonesWireless SystemsBoompolesMix

2、ersRecordersCommunicationPlayback SystemsPower SolutionsWalkie TalkiesSound ControlAccessoriesMicrophonesShotgunsLavaliersStereosSurroundsMicrophones _shotgunsShotgunsSennheiser MKH 416 Short Shotgun MicSennheiser MKH 60 Super-cardioid Condenser ShotgunSennheiser MKH 70 Long ShotgunSennheiser ME 66

3、Super Cardioid CondenserSchoeps CMIT5U Super Cardioid Shotgun MicSanken CS-1 Short Shotgun MicSanken CS3e Super-cardioid Condenser ShotgunNeumann KMR 81 ShotgunNeumann KMR 82i Long ShotgunHow to choose shotguns?Frequency responseLow cutHigh frequency boostOut-of-axis frequency response Directional p

4、atternCardioidSuper-cardioidEffective pick-up angle (3dB sensitivity decreasing)cardioid 1300, super-cardioid 300 -400Sensitivity Dynamic rangeSennheiser MKH 416Power Supply: P or TSennheiser MKH 60Sennheiser MKH 70Sennheiser 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40-20k50-20k50-20k灵敏度（mV/P

5、a）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）165150180Sanken CS-1Short shotgunVery sharp directivity in a 181.5mm length bodyFlat frequency response beyond 20kHz(on axis)High sensitivity -30dB/PaAccepts high SPLs. More than 137dB SPL (1% THD). With no distortion in cl

6、ose miking.Narrow angle directivity over the entire frequency range.Overrall rear rejection. 22dB/20kHz. 18dB/10kHz. 27dB/1kHz. 27dB/200Hz.Light weight. Only 100g. Easy to operate on a boom pole.Schoeps CMIT 5 ULow coloration of off-axis soundEven greater immunity to wind noise than a SCHOEPS super-

7、cardioidDirectionality increases smoothly with higher frequencies, which results in a very balanced sonic characterCapsule and amplifier are built as a single unitSchoeps CMIT 5 U _moreThe sound quality of the CMIT 5 remains consistent even if the microphone is rotated on its axis, since its directi

8、onal pattern is the same in both the vertical and horizontal planes.Schoeps CMIT 5 U _moreThree pushbutton-activated filters allow the microphone to adapt to the recording situationHigh-frequency emphasis (+ 5 dB at 10 kHz) enhances speech intelligibility, and compensates for high-frequency loss cau

9、sed by windscreens; A steep low-cut filter (18 dB/oct. below 80 Hz) suppresses wind and boom noise;A gentle low-frequency rolloff (6 dB/oct. below 300 Hz) compensates for proximity effect.Microphones _supercardioidSchoeps MK41Schoeps CCM41Schoeps MK41 and CMC 6Supercardioid with highly consistent di

10、rectionality 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 cardioiddirectivity is highly independent of frequency, even sounds arriving off axis and reverberant sound are

11、 registered without colorationThe pickup is “drier” and less susceptible to acoustic feedback than any other SCHOEPS capsule typeEven distant placement of the capsule produces a very natural sound pickup. This is a real advantage over interference-tube “shotgun” microphones, whose directivity is ver

12、y frequency-dependent exceeding that of a supercardioid only at higher frequencies. Interference-tube microphones are notoriously sensitive to their position in a room, where the shifting patterns of reflections cause corresponding shifts in sound color.Good to use in room. Schoeps CCM41Similar to M

13、K41Compact micSchoeps vs. 416Schoeps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 _lavaliersLavaliersCountryman B6/B3 Miniature Omnidirectional LavCountryman EMWLectrosonics M150 Omnidirectional LavSanken COS-11 Omnidirectional LavSennheiser ME 2 LavSennheiser MKE-1/2 Omni

14、directional LavTRAM TR-50 Omnidirectional LavSony 77B/ECM-88How to choose lavalier?Nice soundingOmni-cardioidLess positioning problems (people moving their head all the time)Less sensitive to wind and popingGood matching to boom micDynamic range (low distortion at high SPL)RF interference resistance

15、Power supply (from AA battery or 48V phantom power on mixer or recorder)Easy to hideCountryman B6Smallest lavalier in the worldonly one tenth of an inch (0.1 inch, 2.5mm) in diameterEasily hidden in hair/costumes or glued on performers faces in film, theater and broadcastChangeable protective capsMo

16、isture resistanceColor options (6 colors)Shape the frequency response for different situations or to match other microphonesLow distortion at SPL up to 150dB on 48V phantom powerLow handling noiseExcellent rejection of surrounding noiseHigh quality audioCountryman B6 kitsB6 lavalier microphoneKevlar

17、 cableCapsWindscreenTie clipsCarrying caseCountryman B3Similar to B6,but cheaper0.2 inch in diameterMoisture and perspiration resistant when used in hair, on the body and in bad weatherCountryman EMWOmni-directionalVery low rubbing noiseHighly moisture resistanceAllows use near water or in intense w

18、eatherSanken COS-11DOvercomes digital transmitter RFI (radio frequency interference)Water resistantImproved moisture resistanceOriginal vertical diaphragm designOptimized for human voiceSennheiser MKE 2-ew GoldOmni-directionalMax SPL 142dBSennheiser ME2 LavUse with evolution wireless SK bodypack tra

19、nsmittersTRAM TR-50Miniature Omni-directional Electret Condenser Microphone Minimum sound coloration for universal use Easily combined with boom microphones Tiny, lightweight and compact; easily concealed Extensive range of mounting accessories Wide frequency response Very low rubbing noise Internal

20、 battery or 12-48V phantom power* (*with positive bias version only) Detachable 250 Q power supply Available in 4 colors: black, gray, white, tan Large range of connectors for direct use on a wireless transmitter Strong, durable and reliable Microphones _stereoStereoSanken CSS5 shotgun stereo micSan

21、ken CMS-10Schoeps CMIT M/S setSchoeps CCM 8 & CCM 4/41 M/S setNeumann RSM 191 M/S setSennheiser MKH 418S shotgun M/S micSennheiser MKH 30/60 M/S setSanken CSS-5First stereo shotgun3 mode switchable MONO (shotgun)Normal STEREO (1200)Wide STEREO (1400)Superb rear rejection at 180 degrees even in low f

22、requenciesMONO-STEREO compatibility. Mono and phantom center have the same sound characteristicsSanken CSS-5MONO 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 sig

23、nificant that the CSS-5 picks up the chosen sound source very clearly even in a noisy ambient situation or in a long reverberation space.Normal modepicks up the targeted sound as well as extremely accurate stereo localization. STEREO angle is 120.Wide modedesigned for stereo recording of sound effec

24、ts and environmental information where dialogue will be dubbed in at a later date. This mode allows a wider 1400 stereo width.Mono-Stereo CompatibilityIn stereo recordings, the frequency response of the MONO summed output often exhibits interference, or comb filtering. This phenomenon is caused by p

25、hase differences between the Left and Right signals. This does not occur in single point recording. Sanken CMS-10Switchable mode Very sharp mono-shortgunStereo (with pick-up angle 1270)Short length (210.5mm) and light weight (170g)Using PPS diaphragm. It maintains high durability and quality even in

26、 high humidity environmentsSpecially designed suspension holder. Can isolate camera motor noise in camera mount useBasic design is M-S. but it include M-S to L-R circuitry. and allows a direct L-R signalSchoeps CMIT M/S setComplete set for M/S stereo with shotgun microphone CMIT 5 U for the M channe

27、l and a CCM 8 Lg compact microphone in the S channel Schoeps CCM 8 & CCM 41 M/S setCCM 41/ MK41 for “M” signalCCM 8 for “S” signalCan be set up at quite some distance from the sound source Neumann RSM 191 M/S setOne hyper-cardioid capsuleOne figure-8 capsuleMTX 191 A matrix amplifierAdjustable pick-

28、up angle and high directivity1700、1500、1250、1000、750、600Neumann RSM 191 M/S setCapsules in detail and connectorSennheiser MKH 418S M/S micShotgun M/S micSennheiser MKH 30/60 M/S setMKH 60 super-cardioidMKH 30 figure-8Microphones _surroundSurroundSanken WMS-5 5.0 surround microphoneSchoeps Double M/S

29、 surround microphoneSchoeps IRT Cross surround microphoneSanken WMS-5 5.0 surround micWorlds first 5-channel surround mic self-contained in one mic body5 surround outputs (L/C/R/LS/RS)Compact size235mm(length), 235g(weight)Precise phase coherent M.S.M capsule layoutMS to LR Matrix circuitry in the m

30、ic bodyIdeal 5.0 sound localizationSanken WMS-5 5.0 surround micHow does it work? (Double MS)The front “M” capsule is used for both C and front L,RThe “S” signal is for front L,R and rear LS, RSThe rear “M” capsule is used for LS and RSFor precise phase coherent, front M, back M and S capsules are s

31、et vertically on the same axisThe front “C” capsule has shotgun directivityStereo angle is 1200 (L/R, LS/RS)Schoeps Double M/S surround mic _supercardioidA front-facing cardioid or super-cardioid “mid” mic and a figure-8 “side” mic, a rear-facing directional micSchoeps Double M/S surround micAppeara

32、nceSchoeps Double M/S surround mic _shotgunCMIT Double M/S setSchoeps IRT Cross surround micWith compact mic CCM 4/41For ambient recordingTransparent and spacious rendering of the acoustic environmentWireless systemsLectrosonicsSennheiserZaxcomRamsaHow to choose wireless systems?Frequency rangeStabi

33、lity True diversityAuto dynamic controlPower Concern to effective working distancePower supply _AA battery or DCNoise restrainingLectrosonics 400 Digital SystemOne UM400 transmitterOne UCR411 receiverOne M-150 lav or COS-11 lavLectrosonics 200 SystemOne UM200C transmitterOne UCR201 receiverM-150 or

34、COS-11 lavLectrosonics Quad Pack System(4) UM400 transmitters(4) UCR411A receiver(4) COS-11 lavsA rack mount with power supplyLectrosonics UH400Plug-on transmitterMostly for hand-held micsSennheiser Evolution G3 SystemSK 500 G3 bodypack transmitterEM 500 G3 rack-mount receiverMKE-2 gold lavSennheise

35、r Evoluation G2 SystemOne SK100 or one SKP plug-on transmitterOne EK100 receiverME2 or COS-11 lavSennheiser transmitter and receiverBody pack transmitter SK100Portable receiver EK100True diversity receiverPortable EK3241EM100G2Zaxcom stereoline digital systemStereoline digital stereo transmitterENG

36、digital receiverCOS-11 lavsBoompolesK-TekAmbientVDBPSCK-TekEasy to go? Light? All in one?K-Tek K-152Short pole for film, long pole for video5 sections, from 91cm to 386cmAvailable wired with internal cable and bottom or side connector base, or unwiredK-Tek K-202Standard film production pole5 section

37、s, from 116cm to 513cmAvailable wired with internal cable and bottom or side connector base, or unwiredK-Tek K-102Most popular for video5 sections, from 60cm to 267cmAvailable wired with internal cable and bottom or side connector base, or unwiredK-Tek Avalon KE-110Designed for ENG, EFP, DV Producti

38、on5 sectionsInternally wired, Female and male XLRAmbient QP 480Standard boompoleLength 105-350cmWired or unwiredMono/stereo line for wired poleAmbient QP 4140Standard boompoleLength 154-540cmWired or unwiredAmbient QX 580For ENG and video market5 sectionsLength 80-330cmVDB Medium 60cm-275cmExtra lar

39、ge 110-560cmPSC elite medium5-section carbon filterLength 66cm-251cmMicrophone AccessoriesWind restrainingFoam windshieldZeppelin windshieldWindjammerSuspensionRycote full windshield kitsFoamWildshieldSuspensionWindjammerPackage caseMixersSound DevicesAudio LtdSonosaxHow to choose field mixers?Porta

40、ble (small, light, powered by AA or DC)Mic/line input channelsPhantom/T powering supplyMeter monitor (peak and VU)Simple EQ and filtersOSC(1kHz at least)Output (mono/stereo/multi)Monitor signal selectableCueTalkbackSound Devices 442Portable mixer for production, ENG and film4 transformer-balanced mi

41、c/line level input on XLR connectors2 transformer-balanced line/tape/mic level output on XLR connectorsContinuously adjustable input trimVariable high pass filterContinuously variable pan controlPhantom or “T” mic powering per channelSolo (PFL) monitoring in headphonesOn-board MS stereo matrixPeak l

42、imiters per channelSound Devices 442Front, input and output panelsSound Devices 552Portable production mixer with integrated two-track, digital audio recorder writing wave files to SD or SDHC media.5 mic inputs with two stage gain control, limiter, variable high-pass, and solo monitoringPre- or post

43、-fader direct outputs per inputMultiple, balanced output connections, including 2 XLR, Hirose 10-pin and TA3AES/EBU output option, on either XLR or 10-pin multi-pin, two connections for 4 channels of digital output, sampling rates up to 96kHzSound Devices 552 _front panelSound Devices 552 _input pan

44、elSound Devices 552 _output panelSound Devices 302Compact production field mixer3 transformer-balanced mic/line level inputs on XLR connectors2 active-balanced line/tape/mic level outputs on XLR connectorsStereo and MS linking of channel 1 and 2Sound Devices 302Front, input and output panelsAudio AD146Portable location mixer6/8/10/12/18/24 inputs, 4/2 outputsMS matrixAudio AD245Portable location mixer2 stereo outputsAudio AD261ENG field mixerShure FP333 inputs, 2 outputsRecordersSound DevicesAATONNagraFostexHHB