Park City, UT (February 7, 2020)—Indie film Dinner in America, written and directed by Adam Rehmeier, was shot in many different suburban locations, presenting unique audio challenges for the sound team led by Daniel S. McCoy, CAS, owner of production sound company ToneMesa.
To tackle the job, McCoy turned to his go-to DPA 4061 miniature omnidirectional, 4017b shotgun and 4018b supercardioid microphones. McCoy found DPA’s new subminiature 6061 CORE particularly useful. “Not only was it easy to hide the mic within the actors’ wardrobe, it also concealed better as a plant mic wherever we needed it,” he says.
“I have always loved my 4061 lavalier mics and now, with the 6061 CORE subminiatures, I can get even more dynamic range and frequency response, with higher fidelity than ever before. Considering it has an even smaller capsule, that sound simply blew me away. The 6061 CORE does a great job of capturing nuanced sounds, more detail in rooms, actors’ voices and hard sound effects.”
It was in noisy, less-than-ideal filming conditions where McCoy found the 6061 CORE mic to especially excel. “We shot one scene in a pet shop with an incredible amount of animal noise,” he explains. “Despite having to contend with birds chirping and a great deal of crosstalk, the 6061 CORE still provided the clarity of the actors’ voices that I needed. I never had to worry about distortion or the lack of intelligibility that you usually get with multiple hidden mics.”
Dinner in America follows a punk rocker and his fan-turned-love interest as they travel through middle America. During a punk rock concert scene towards the end of the film, McCoy heavily relied on both the 4061 and 6061 mics to capture an authentic concert sound.
“I planted 4061/6061 CORE mics to capture the drum kit, bass and guitar amp,” he says. “Using my 4017B and 4018B microphones on boom, with the 6061 CORE and 4061 miniatures on the actors and instruments, really took the audio to the next level. I did a mono board mix and positioned spot mics on every instrument and every head amp. It was a very pivotal, intense scene. All the music was beautifully captured, thanks to my DPA mics.”
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