Capturing audio for NBCs Parks and Recreation

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Capturing audio for NBCs Parks and Recreation --

Wed, 11 Feb 2015 11:22

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NBC s Parks and Recreation, now in its final season, has its audio recorded by production sound mixer George Flores, CAS, who employs DPA Microphones Discreet 4071 and 4060 omnidirectional miniature mics to capture all of the program s hysterical dialogue. The show is shot in an interview style, similar to that of a reality program. The mic combinations have proven well suited for capturing dialogue while events play out behind the actors.

Parks and Recreation stars Amy Poehler who plays, a mid-level bureaucrat in the Parks and Recreation Department of Pawnee, Indiana.

This style of show presents its own unique set of challenges, explains Flores. Its not a conventional situation, where you shoot the wide shot with everyone in it and then you go in for the mediums followed by the close-ups. In this pseudo interview- type show, you have to mic each actor and we have a multitude of actors to wire. We try our best to be diligent about mic placement and getting the best quality that you can, and thats why microphone selection is so critically important. In choosing DPA microphones, we knew we are getting a reliable, high-quality microphone right off the bat. Even if the microphone is moved a little bit or being covered by something, they still sound great.

For the seventh season of Parks and Recreation, Flores chose to use his tried-and-trusted DPA Discreet 4071s and 4060s, along with his Lectrosonics wireless system and Sound Devices multitrack recorders.

The DPA miniatures have been great on this project, he notes. For most wireless lavalier microphone situations, quality is dependent on isolation from clothing or jewellery. We usually place a lav on an actor in a spot that sounds good, and then five minutes later its not so good. The combination of the built-in low-cut/soft- boost feature gives these DPAs a huge advantage over other manufacturers in that, once a lav is placed, it needs very minor, if any, adjustments to keep it sounding consistently on-axis. The Discreet 4071, in particular, is very important in attaining the entire voice range in an equal, full way for delivery to post production.

Flores also supported the production using a collection of overhead booms.

Additionally, for situations when they needed to plant a microphone somewhere on- set, he would use the Discreet 4071s or 4060s with a boundary layer concealer to capture ambient sounds.

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