Sennheiser microphones capture every detail in the heart of the Kenyan wilderness

Tom Martienssen, the Dustoff Films, trust the MKH 8000 RF condenser microphones from Sennheiser to capture every sonic detail of nature in Kenya in the documentary 'Rhino'.

The documentary, which follows a group of elite rangers in Kenya working to protect the critically endangered black rhino, is attracting attention for both its powerful conservation message and its exceptional audio quality. At the heart of the film's sound are the company's cutting-edge microphones. serie MKH 8000 de Sennheiser, which helped bring the film's immersive world to life.

From the deep roars of rhinos to the subtle rustle of the grassland, the film's soundscape is as crucial to the narrative as its images. Using Sennheiser MKH 8000 RF condenser microphones allowed Martienssen and his small production team to authentically capture the sounds of the environment on the spot. The microphones provided clarity and detail, even in the harshest conditions that the Kenyan wilderness could throw at them.

Martienssen founded Dustoff Films about a decade ago. Inspired by his experiences on the war front and the pressing need for greater environmental awareness, his work quickly evolved to focus on wildlife conservation. Dustoff Films is now committed to producing impactful documentaries that address crucial issues such as climate change, conservation and human rights.

In Rhino, Martienssen and his team have decided to share a story of hope in the midst of environmental threat. The film chronicles the extraordinary recovery of Kenya's rhino population, which, from the brink of extinction in the 1970s, is now thriving thanks to successful conservation efforts. However, this resurgence has brought its own challenges: the rhino population has outgrown its habitat, leading to territorial disputes and aggression between the animals. In a pioneering initiative, rangers are now tasked with relocating the animals to new areas to ensure their survival and growth. The documentary highlights the tireless and dangerous work of rangers, the positive results of conservation efforts, and the global importance of protecting endangered species.

“We wanted the sound to be real,” says Martienssen. "We didn't want to recreate wildlife songs or add anything that didn't exist at the time. It was important that the sounds we recorded on site were those that would be heard if they were really there with us, in the middle of the African savanna."

Capture audio with complete precision

This commitment to authentic sound led the team to use Sennheiser's MKH 8000 series microphones to ensure accurate capture of every audio detail in dusty, windy and sometimes dangerous conditions, helping to preserve the raw, unfiltered sounds of the Kenyan wilderness.

The MKH 8060, known for its high directionality and clarity, was used throughout the film to capture clear, isolated sound from specific sources, like animal songs and ranger conversations. Its compact size, incredible sensitivity and weather-proof ruggedness made it ideal for use in the field, even in harsh environments like the Kenyan savanna.

Martienssen first met Tim Constable from Sennheiser during a conference on using RED Digital Cinema cameras for storytelling. “Our conversation turned to film sound, and that's when Sennheiser, through Tim, provided us with a dual MS stereo system, with two MKH 8040s and an MKH 8030 microphone,” he says. “We used this setup to capture the natural ambient sound of each film location and create an immersive soundscape.”

“The 8000 series microphones, whether the 8060, 8030 or 8040, sound very similar, so they can be easily combined without problems,” adds Constable. "The sound profile remains consistent, meaning there was no need for major post-production adjustments. Following our discussions with Tom, we found a solution that worked perfectly from the start."

In addition to the MKH 8060, the MS dual stereo system It provided an additional layer of sonic richness and allowed Martienssen and his team to record spatially immersive sound: “We used two main microphone configurations,” explains Martienssen. "One was a camera-mounted MKH 8060, which captured audio wherever the camera was pointed. The second system was a shotgun microphone, where we switched between the dual MS stereo system with two MKH 8040s and one MKH 8030, or just the MKH 8060. We did a comparison test with the 8060 we had from the beginning and another one we acquired about six months ago. After two and a half years "In use, they sounded identical, just like the new one, from the first moment."

Before each shoot, they decided which setup would work best for each scene. They found the MKH 8060 to be excellent for its directional focus and compact size, while the MS dual stereo system excelled at capturing the full surround sound of a scene when placed in the middle of the action.

Simplify things

“We didn't have time to change microphones between setups, so we opted for a per-shoot system,” Martienssen continues. "We wanted to keep things simple. Instead of the usual setup with two cameras and a shotgun microphone, we reversed it: we had two MKH 8060 microphones: one on the camera and one on a pole following the person I wasn't filming. This setup allowed us to capture excellent sound with a smaller team, reducing costs and making it easier to collaborate with the rangers without getting in the way."

Filming in the remote wilderness of Kenya required Martienssen and his team to minimize their environmental impact and be resourceful with their equipment.

“Rhino was filmed by just two people; I handled the camera and James May handled the audio,” he adds. "We were supported through an internship program with Kenyan film students, which was part of our effort to strengthen the resilience of the Kenyan film industry. However, they were only present for the planned moments, such as the rhino translocation and some other key events. The rest of the time, it was just James and me.

“We use auriculares Sennheiser HD 25 throughout filming, especially for James during recording. Many of the situations we found ourselves in were dangerous, with a lot of movement around us. We always recorded in 32-bit float to get more dynamic range, so even if James couldn't react quickly, like he was running away from a rhino, we still had clean audio without worrying about overmodulation. The HD 25s were key as they provided clear audio whilst allowing us to hear what was happening around us, which is crucial when dealing with rhinos.”

They were also used recorders Sound Devices MixPre-3 II and MixPre-6 II, which provided enough channels for the dual MS stereo. In order to maintain a compact but visually efficient configuration, Martienssen used cameras RED Komodo-X and V-Raptor for recording, whose preamps he says were surprisingly effective.

“The amount of dust the camera managed to absorb was incredible,” he recalls. We filmed during Kenya's worst drought, with rangers driving heavy vehicles that kicked up dust, which got onto the cameras, audio equipment and microphones. We use a system Rycote Softie y Super-Blimp for the MS dual stereo, and they did an incredible job protecting everything. Then, when the drought ended, we had torrential rain and mud. Despite everything, the team resisted. I've taken these microphones to places like Resolute Bay in Canada and Mount Everest at -35°C, and they have never failed me. We haven't had any problems because all the microphones we use are radio frequency condenser microphones, so they are designed for extreme conditions.

One of the most notable features of the Rhino documentary is its sound mix Dolby Atmos, which was mixed with 70 speakers to create a rich and immersive experience.

“We wanted to transcend the limits of documentary filmmaking,” says Martienssen. "With Dolby Atmos, audiences no longer just see the film, they experience it. You can hear the rhinos moving behind you, feel the wind whipping the trees, and immerse yourself in the environment. It takes documentary to a whole new level."

"While this level of sound design is rare in documentaries, typically reserved for high-end productions, we committed to it because we wanted the quality of the recording to match the final experience. Our sound mixer, Nas, who works at Molinare, is a genius. He's the best sound professional I've ever worked with. I gave him direction and he really elevated the mix. I listened to the final mix in Molinare's Dolby Atmos theater and it was incredible."

Immersive experience

Martienssen's career as a BBC journalist and director of photography has shown him the power of images to make audiences feel part of the story. But he believes audio can do even more: "With improved headphone technology, it's possible to create a highly immersive experience, even for those watching the movie on a laptop. They can truly live in the moment, which is more convenient than large-scale setups. While only a few hundred people can experience that kind of immersion in person, millions can enjoy it at home with a good pair of headphones."

“Cassandra Roberts, the editor, was absolutely incredible,” adds Martienssen. "Towards the end of the film, I took her to Kenya to experience the setting and become familiar with the characters and reality of the story. She spent three months there, doing location editing. I think this had the biggest impact on the sound of the film. The sounds of the Borana Reserve, in particular, impacted her deeply, sometimes more than the images. This helped her create an authentic atmosphere by working with Nas on the sound to ensure he captured the true essence of the place. We've also received a lot support from various companies, such as Fujifilm, RED Digital Cinema y P+S Technik, especially because we did not have the support of a studio.

Looking ahead, Martienssen hopes to continue combining cutting-edge filmmaking techniques with real-world environmental stories. “We want to create eco-thrillers,” he says. "Films that tell true stories, without a script, but with the same level of emotion and narrative drive as big-budget blockbusters. The next project will go further, with an even bigger budget and more advanced sound and production techniques."

“It was a fantastic opportunity to use the MKH series in various film settings and push its boundaries,” he says. "One of the biggest challenges in documentaries is getting people to connect with the characters and the setting, to make them care and become fully immersed. Documentaries often struggle to introduce characters or integrate them into the story in a way that engages the audience. Anything that helps the audience feel more involved in the story is invaluable."

“Collaborating with Dustoff Films on the rhino documentary was an incredibly rewarding experience,” concludes Constable. "At Sennheiser, we always strive to transcend the boundaries of sound, and it was inspiring to see how our microphones helped bring such a powerful story to life. The opportunity to equip Tom and his team with our high-end MKH series allowed them to capture the nuances of this important documentary in exceptional detail. It was a true collaboration, and we are proud to have played a part in telling this crucial conservation story and the majestic rhino."