Sound Acquisition

Problem:

 

It is amazing what an audience will put up with, but one thing they will not tolerate is poor sound (low level, over driven, over powered by general background, or interrupted by that train or airplane).  What is even more amazing is that sound acquisition is the weakest aspect of most small video or Indie productions. That being said, the question is why? Or better yet why does it stay that way?

 

Insight: Part of the reason is that often it is the afterthought and the person responsible for field acquisition during taping was grabbed or volunteered to handle the boom and has now become the boom and mixer operator. In this last case they may not even be monitoring the actual recorded sound.

 

Process possibilities:

 

Boom mic connected to DAT or Mini Disk or Digital Recorder, normally through a mixer if multi mics or controlling volume with the recording unit if a single mic. This volume level is monitored with headphones as well as watching meters. Sometime a reference channel is sent to the camera (video) and or a Slate or some form of synchronizer is established at the beginning of each shoot.

 

The boom mic is attached directly to the Video camera (if using balanced XLRs , most digital cameras will provide adequate sound. In this case the Mixer must set levels on the camera and then monitor the camera’s recorded signal and adjust the boom position for slight volume differences.

 

In either case, even the best boom mic (not that everyone is always using the best)  is only as good as the operator.  Being able to hear the voices is not the same as getting good solid voice recording. Closer is always better and consistent solid levels are best.

 

Tip: During the site review it is best to do a background sound analysis. Listen to the room with no one talking and discover the Room tone content (motors, blower, air handling, floor scuffing form other areas, car or truck rumble, airport notice) some may be able to be turned off. Remember there is a limit to what you can correct in post. If you have any question it is best to bring a set of mics with you and test for your ability to get solid sound.

 

Tip: don’t forget about getting room tone. At sometime in every location, ask for room tone. That means every one shuts up and record the ambient location sound. This works best if you record enough to cover the entire scene (scene is 2 minutes, so 2 ½ minutes of room tone. Your editor will bless you as will anyone doing sound post. This sound is used to mask the cut effect of room tone during editing. When laid down under the completed scene and leveled out, it will help make the cuts invisible from an audio stand point.

 

Microphones:

 

Use a boom mic when ever possible. Note the more directional will sound a little deeper (base) so pick the mic that best suits your recording situation.

 

Keep the tip of the directional mic pointed towards the mouth.

 

The less you have to push the mic/mixer/recorder the more solid the sounds i.e. keep the mic as close to the source as you can.

 

Wireless Body mics should only be used when you have to. Some Mixers like to back them up (when ever possible) with a good boom anyway.

 

Always use the best balanced cable you can, and be very careful about handling during a take. Cable noise is a great way to ruin a good performance.

 

 

The following site has some great links to help you understand all of the aspects of location sound in much more detail:

 

http://www.equipmentemporium.com/Articles/Articles%20about%20Prod%20Sound.htm