Mic for foley?

[nezvers]

I'm interested to do some foley stuff for sound designs. But I don't want to get into extreme and expensive stuff, but better into bit cheapest of descent sound. Also if I could use it into some instrument or vocal record too.
Already thanks for suggestions!

 

[LoftMusicRob]

A good condenser will work but I have had good experiences in a foley pit with an SM7

 

[chrisjmp]

I believe a Sennheiser 416 is the standard for that sort of thing. Rhode and Audio-Technica make some cheaper shotguns, but I don't have any experience with those.

 

[chrisrivalry]

I believe a Sennheiser 416 is the standard for that sort of thing. Rhode and Audio-Technica make some cheaper shotguns, but I don't have any experience with those.

are you talking about field capture or foley work with that?

 

[chrisjmp]

I think the idea is for the foley to match the production sound, so the 416 gets used a lot for foley since it's one of the most commonly used boom mics on set.

 

[Melodeath]

I think the idea is for the foley to match the production sound, so the 416 gets used a lot for foley since it's one of the most commonly used boom mics on set.

That sort of makes sense, but I would think in a lot of modern films all the dialogue is replaced later in the studio.

 

[chrisjmp]

That sort of makes sense, but I would think in a lot of modern films all the dialogue is replaced later in the studio.

A good dialog editor tries to use as much of the production sound as possible, but a lot of stuff ends up getting replaced for a variety of reasons. There's some movies that definitely sound to me like everything's been replaced. Typically a 416 gets used to record the ADR as well, in conjunction with a large diaphragm condenser like a U87 or whatever lav mic they used on set.

 

[Melodeath]

A good dialog editor tries to use as much of the production sound as possible, but a lot of stuff ends up getting replaced for a variety of reasons. There's some movies that definitely sound to me like everything's been replaced. Typically a 416 gets used to record the ADR as well, in conjunction with a large diaphragm condenser like a U87 or whatever lav mic they used on set.

Good info. Thanks!

 

[JakeAC5253]

Not going to lie, I've never done or researched foley work, but I thought it had more to do with door/phone/slap/whack/walking and etc ambient sounds, as opposed to voice re-tracking. Maybe there's more than one type of foley studio...

Question for guys who know about this stuff... when I think about the best way to make all the previous ambient sounds I mentioned, I'm thinking the best choice mic might be one with an omni pattern, no?

 

[chrisjmp]

Yeah foley and dialog are handled separately, I was mainly trying to point out that the same mic gets used for a lot of different stuff. An omni would probably work well for ambience, but for specifics, you'll want a super tight polar pattern. If you pick up too much of the room, and the ambience doesn't match the scene you're screwed.

 

[Uros]

Yep, I work on a National television, and we use shotgun 416 (along with 418, which gets more use as a fx kinda mic, since it's stereo) a lot. It's great for dialogue, not that much for ambiance tho (418 is better for that).

 

[nezvers]

Hmm... starting to check those mics. Big thanks guys!
Well my need for mic is to record samples of sounds like swoosh from wire flying next to mic, crushing beer can, gun shot, toilet flush, etc.