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Even though we might think of films as a visual experience, we cannot underestimate the importance of film sound.
There’s a well-known rule that nothing ruins good video faster than bad audio.
When working on a media project with sound it is important to pay close attention to the audio that you are capturing - just as much as you would pay attention to the video or images you are taking.
Improve your audio quality with microphones.
In movie making, audio is a separate job, with a soundperson using a separate microphone and recorder to capture the audio, edit it, and then sync the audio in the editing suite after the fact.
Most serious film projects use the slate or clacker as the synchronization event tool.
External Microphones:
External Microphones:
It is highly recommended that when you are creating a media project with audio that you use an external microphone to capture the sound. External microphones add a layer of complexity to a production but are often worth the effort.
Note: if you are using a video camera to record audio and you want to use an external microphone, your camera must have a microphone in port, this port is not common with inexpensive cameras so be sure to purchase one with the mic in port.
There are basically three types of microphones:
There are basically three types of microphones:
Handheld Mics
Handheld Mics
These mics are best for conducting an interview, recording a speech (especially at a podium), and creating a narration.
To minimize unwanted noise, keep the mic as close to your subject as practical—usually about a foot from the speaker’s mouth.
Position a handheld mic at an angle of about 45 degrees to cut down on breath pops when the speaker pronounces Ps and Ts.
Shotgun Mics
Shotgun Mics
The advantage of using a shotgun microphone for shooting dialogue is that they are highly directional, allowing you to focus on what the microphone is pointed at.
Consider using a boom pole or sitting a tripod just out of shot to get the microphone as close to your actors as possible.
It is important to continuously be moving and pointing the mic towards the direct sound source you want in order to capture it.
Lavaliere Mics
Lavaliere Mics
A small microphone that is usually clipped to a subject's clothing. Their tiny size means you can conceal them.
This is ideal for formal, sit-down interviews where the talent isn’t moving around much.
In narrative films, lavalier microphones can sometimes be hidden beneath your actor’s clothing.
The downside is that most wireless lavalieres require batteries, which tend to wear out at inopportune moments.
BOOM MIC OPERATION
BOOM MIC OPERATION
Place your control hand (right if right-handed, left if left-handed) on the bottom end of the pole.
Your other arm will be your weight-bearing arm, holding the pole as you would a billiard cue stick.
Hold your arms in a “U” shape and directly above your head.
The boom should remain parallel to the ground.
The job of boom operator requires stamina more than strength.
Operating boom also requires you to have the dialogue memorized.
In a scene with two people speaking, the microphone has to be pointed at the person who has a line before they speak.
If you wait for someone to start speaking before turning the mic, then you risk the beginning of lines being off-mic.
AUDIO RECORDING SYSTEMS
AUDIO RECORDING SYSTEMS
Single System
Single System
In a single system, audio is captured directly into the camera, and records simultaneously with the image.
The benefit of a single system is that it does not require audio to be synched up in post-production.
This is advantageous in news and documentary formats that often require a quick turnaround of material.
Double System
Double System
For a double or dual system, sound is captured independently of the camera and onto a digital audio recorder. (ex Zoom H6)
The only real challenge with using a dual system recording model is that at some point you have to synchronize your audio with the from-camera video.
Here’s a process:
Activate audio recording on the camera. This is not your quality audio track, its only purpose is as a sync track.
Start the audio recorder. In film speak the Director’s command for this is “speed”.
Start the video recording in the camera, in camera audio starts at the same time. The Director’s command for this is “rolling”.
At this point, you introduce an audio spike. This can be from a slate or clapper, but is easily done by a single loud handclap.
Instruct your talent to begin the shot. The command for this is “action”.
Finish the shot or clip. The command here is “cut”. This is the cue to stop the recording on all devices.
ZOOM H6
Synching Your Audio To The Video
Synching Your Audio To The Video
In your video editor, you import the video and audio track from the camera.
Now import the separate audio track from the recorder.
Make sure that the audio waveforms are expanded nice and wide and tall.
Drag the position of your audio track so the spike is in the same position on the timeline as the spike recorded in the camera.
Once aligned, mute the audio track from the camera and play the combined clips through to make sure that things are good.
When you are sure that they are, link the video and the audio tracks together so if you move one, the other moves with it, and when you make cuts, the cuts apply to both tracks.
A great video on the sounds of Star Wars
The Force of Sound.mp4Report abuse