Herausforderungen am Filmset

Challenges on a Movie Set

Production Sound for “Nachtvlinders”

For production sound mixer Oliver Pattinama, good set sound is more than just technology; he sees it as an integral part of cinematic storytelling. Based in Amsterdam, he works on a wide variety of European productions.

An important component of his work is his versatile Schoeps microphone setup. With this equipment, he can deliver reliable, clear original sound even in acoustically challenging situations such as on busy streets or in problematic interior spaces – an important contribution to the atmosphere of a movie.

Using the example of the Belgian thriller Nachtvlinders, Oliver describes the challenges the shoot presented to him and how the CMD 42 amplifier and KMIT capsules in particular helped him create a dense and believable sound world. His experiences offer practical insights for anyone working with set sound at a professional level.

AUTHOR: Oliver Pattinama, Production Sound Mixer
 

My name is Oliver Pattinama, and I work as a production sound mixer based in Amsterdam, the Netherlands. Over the years I’ve had the opportunity to contribute to several European films, including Hardcore Never Dies, Dirty God, Skunk, and Instinct. In 2024, I worked on two English-language films and a Flemish-language production in Belgium. I was part of the team behind Nachtvlinders (Moths). For that project, I expanded my Schoeps kit with two additional CMD 42 modules and two KMIT capsules to enhance my sound setup. As a production sound mixer I specialize in capturing the sounds that bring a film’s story to life— from the nuances of dialogue and the movement of actors to the ambient textures of the location and the delicate, often-overlooked auditory details. My goal is to blend sound seamlessly with visuals, whether it’s expanding what the viewer needs to hear within the frame of the camera or conveying what lies outside it. I always aim to enhance the emotional resonance of the narrative. I rely on trusted tools, such as Schoeps microphones, to achieve this.

MY SCHOEPS SOUND KIT:

• 4x SCHOEPS CMD 42
• 2x SCHOEPS CMC 1 U
• 1x SCHOEPS CMC 1 KV
• 2x SCHOEPS CMC 1 SO ZAXCOM
• 2x SCHOEPS MK 41
• 2x SCHOEPS KMIT
• 2x SCHOEPS MK 5
• 2x SCHOEPS SuperCMIT

On Nachtvlinders, which was filmed in the Flemish region of Belgium, I worked with four CMD 42 modules paired with MK 5, MK 41, KMIT, and SuperCMIT capsules from the Colette series. Each microphone serves a specific purpose: the MK 41 excels at capturing intimate dialogue, while the SuperCMIT is indispensable in challenging, noisy environments.

The film was shot in both on-location and studio-built settings, and by carefully selecting the right microphone for each situation, I aimed to provide sound that feels organic and complements the emotional core of the film.

The Use of Microphones in Nachtvlinders

I select microphones carefully for different environments and actions. The MK 41, in combination with the CMD 42 module, captures intimate dialogue, while the SuperCMIT isolates voices in noisy settings. I often use MK 5 capsules in both cardioid and omni modes to capture ambient city sounds and specific details of what happens on location, including the actors' verbal and non-verbal movements. These elements come together later in post-production where the sound team shapes them into a rich, immersive experience that aligns with Indra's vision. While my role as production sound mixer concludes on set, the puzzle continues to unfold during sound design in the studio. I see each scene as a puzzle, and it’s my task to collect the right pieces on set. For me, a scene is successfully shot when I’ve gathered all these pieces. I strongly believe that the foundation we build during filming will elevate the emotional core of the film.

In Nachtvlinders, the sound design required careful attention to both dialogue clarity and ambient sound, especially in challenging environments like an old, abandoned police station where we dealt with uncontrollable air conditioning, wind, and squeaky noises from old elevators. For scenes with multiple characters around a table, I used the Schoeps MK 41 microphones to ensure clear, intimate dialogue. The MK 41’s focused pickup minimized room reflections while highlighting voices, and the MK 5 provided a wider sound field, making it perfect as a plant mic to capture voices and sounds that were harder to reach by my boom operators.

Flexibility on a Movie Set

On a film set, flexibility is key, and during Nachtvlinders this was no different. For the first time, I worked entirely with Schoeps CMD 42 digital modules for my boom operators, with only a few of the plant mics remaining analogue. My two boom operators were free to move around the set while both were using Zaxcom 745 transmitters with AES cones. The CMD 42 modules fit seamlessly into my entire sound system wirelessly. Whether we were shooting interiors or exteriors, in a studio setting or on location, the use of wireless boom microphones and plant mics gave my team the freedom to focus on placing the microphones in the correct positions in a flexible and efficient way. Thanks to this wireless flexibility, we had more time during setup to get a handle on potential noises such as the clicking heels of actors, squeaky floors, and other acoustics that needed attention.

I used to own multiple CCM-series microphones, but since switching to the Colette series, I've come to really appreciate the flexibility. I can easily and quickly swap between different capsules, which has been a huge improvement in my sound kit, especially when it comes to adaptability. For instance, while recording in that previously-mentioned abandoned police station we captured plenty of footsteps, movement, and extras chatting during and between takes, using easy-to-place wireless plant mics with capsules on CMC 1 U, CMC 1 KV and CMC 1 SO modules. These amplifiers are crucial to my sound kit, and allowed us to discreetly place plant mics while maintaining crystal-clear audio. They provided us with the adaptability to react instantly to changing camera angles during setup, and even made repositioning during scenes quick and effortless. In my sound package I use various transmitters from Zaxcom and numerous grip accessories, such as small tripods and magic arms, to easily conceal and set up the microphones in my kit. My utility sound crew member ensures that all options are monitored at our follow cart to easily place the microphones in the correct positions.

Dynamic Scenes and the Use of CMD 42

During the making of Nachtvlinders, I was reminded of just how crucial it is to stay flexible and adaptable as a production sound mixer. My work on this film reinforced the importance of having the right tools, and for me, the Schoeps CMD 42 became an indispensable part of the process when it comes to dynamic scenes. One of the most significant advantages of the CMD 42 is its ability to put out two channels from a single microphone. In some key scenes, where the emotions of our cast ranged from whispered voices to screams, the CMD 42 allowed me to record with different settings on two separate tracks. As a production sound mixer, this gives me the freedom to deliver an excellent mix for the director’s ears, the rushes, and even the mix tracks for the image editor. I almost take for granted how beautifully whispered words can sound using a CMD 42 module with its extremely low noise floor.

Although I’m fortunate to work with four CMD 42 modules in my kit, and dedicated modules for specific capsules, the feature I found especially valuable was the flexibility offered by the Schoeps Remote app. Being able to quickly adjust settings in real time helped me avoid disrupting the flow of the scene. Whether it was changing the gain or adjusting filters, I could make swift modifications during a rehearsal to perfect the setup for the scene we were about to shoot.

Conclusion

Reflecting on Nachtvlinders, it’s clear that sound plays a crucial role in conveying a film’s emotional depth. Every detail, from whispers to ambient noise, shapes the story. I’m eager to see how the post-production sound team transforms the material I captured into a rich, immersive sound design that enhances the film's essence. The Schoeps Colette series, especially the CMD 42 modules and KMIT capsules, have given me the flexibility I need to adapt to any situation on set. This versatility has been invaluable in ensuring I capture every essential sound.

I continue to be impressed by the clarity and warmth of Schoeps microphones, and I’m excited to expand my kit further with capsules such as the BLM 03 C. With my evolving setup, I look forward to new challenges and capturing the essence of every film I work on.