Embedded Files
Task 5.
Task 5.
Please watch this very clear breakdown of how to use a Boom Pole and Rifle Mic set-up.
Please watch this very clear breakdown of how to use a Boom Pole and Rifle Mic set-up.
Please take notes.
Please take notes.
Next,
Next,
Task 6.
Task 6.
Please watch this very clear BBC guide to using the 2 types of microphone that you will be using to record Dialogue, Action and Foley.
Please watch this very clear BBC guide to using the 2 types of microphone that you will be using to record Dialogue, Action and Foley.
Please take notes.
Please take notes.
WILDTRACK:
WILDTRACK:
Wherever you are there is a background 'atmospheric' sound, general sounds of traffic, the breeze in the trees, general hubbub of life carrying on.
Wherever you are there is a background 'atmospheric' sound, general sounds of traffic, the breeze in the trees, general hubbub of life carrying on.
Even in room 'silence' there is a kind of a 'hiss'.
Even in room 'silence' there is a kind of a 'hiss'.
When we edit there are times when you only want to use images and not sound from the scene, such as reaction shots or cut-aways, in between shots with sync-sound, such as dialogue.
When we edit there are times when you only want to use images and not sound from the scene, such as reaction shots or cut-aways, in between shots with sync-sound, such as dialogue.
Behind the dialogue that was recorded there will be 'atmos' (which we tend not to notice).
Behind the dialogue that was recorded there will be 'atmos' (which we tend not to notice).
When we cut from dialogue & atmos to something that has no sync-sound the audience notices the sudden lack of noise - this is called 'drop-out', see below:
When we cut from dialogue & atmos to something that has no sync-sound the audience notices the sudden lack of noise - this is called 'drop-out', see below:
To avoid 'drop-out' we record 'wildtrack' in each situation that we film in, so that we can lay down a 'wildtrack' of atmos that covers any drop-out or silence. This maintains the illusion of this action all happening at the same time, and in the same place...
To avoid 'drop-out' we record 'wildtrack' in each situation that we film in, so that we can lay down a 'wildtrack' of atmos that covers any drop-out or silence. This maintains the illusion of this action all happening at the same time, and in the same place...
It is an essential part of the Sound Recordist's job to stop the crew & actors from 'striking' (packing-up) a set once the action has been filmed, and making them all stand still, so that the Sound Recordist can record ONE MINUTE of WILDTRACK.
It is an essential part of the Sound Recordist's job to stop the crew & actors from 'striking' (packing-up) a set once the action has been filmed, and making them all stand still, so that the Sound Recordist can record ONE MINUTE of WILDTRACK.
Everyone has to stay on set because if you remove bodies or objects from a space, the atmospheric sound changes - have you ever noticed the difference that a room sounds like when you just take the carpet out, let alone all of the furniture?
Everyone has to stay on set because if you remove bodies or objects from a space, the atmospheric sound changes - have you ever noticed the difference that a room sounds like when you just take the carpet out, let alone all of the furniture?
Always record Wildtrack, for EVERY SCENE/LOCATION - it is an essential element in the edit.
Always record Wildtrack, for EVERY SCENE/LOCATION - it is an essential element in the edit.
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