Audio for Video

Or, how to make sound that doesn’t suck.

Soundtracks

• Consist of three elements:

Soundtracks

• Consist of three elements:– Dialog– Music– Sound effects

• Nothing beats getting good sound in the first place.

Three main points for good recording.

• Capture clean audio– Record speech as a distortion-free mono track

Three main points for good recording.

• Capture clean audio– Record speech as a distortion-free mono track– ADR (automated dialog replacement) is often

not accessible for small productions.

Three main points for good recording.

• Capture clean audio– Record speech as a distortion-free mono track– ADR (automated dialog replacement) is often

not accessible for small productions.– Record sound effects separate from the dialog

• On set recordings are not usually as realistic as sounds built in post production.

• Wild sound: an audio only take of sound on the set with no corresponding picture

– Good for ambient soundtrack for background.

Three main points for good recording

• Make sure the audio perspective matches the action. – Apparent direction, volume and distance of an

audio source in relation to screen action

Three main points for good recording

• Make sure the audio perspective matches the action. – Apparent direction, volume and distance of an

audio source in relation to screen action– Spatial quality:

• Amount of echo, or apparent depth and other noise characteristics of a room or space

Three main points for good recording

• Make sure the audio perspective matches the action. – Apparent direction, volume and distance of an

audio source in relation to screen action– Spatial quality:

• Amount of echo, or apparent depth and other noise characteristics of a room or space.

– Position your mics so the audio perspective matches your visual perspective.

• Close up shot – mic. close to actor• Long-shot – mic. further away from the actor.

Three main points for good recording

• Avoid extraneous background sound.– If there is any extraneous sound which

intrudes into your dialog, do another take.• It is always easier to do this than to remove the

sound in post-production.

• Always shoot with sound even if you don’t plan to use the audio.

The Sound Crew

• Sound recordist– Person who operates the audio recorder

• On some shoots it is separate from the camera

The Sound Crew

• Sound recordist– Person who operates the audio recorder

• On some shoots it is separate from the camera

• Sound mixer– Person who sets the levels

The Sound Crew

• Sound recordist– Person who operates the audio recorder

• On some shoots it is separate from the camera

• Sound mixer– Person who sets the levels

• Boom operator– Sometimes doubles as the sound mixer

The Sound Crew

• Sound recordist– Person who operates the audio recorder

• On some shoots it is separate from the camera

• Sound mixer– Person who sets the levels

• Boom operator– Sometimes doubles as the sound mixer

• Second assistant camera operator (clapper/loader)

Microphones

• Can have one of 4 pickup patterns– Omnidirectional

Microphones

• Can have one of 4 pickup patterns– Omnidirectional– Cardiod

Microphones

• Can have one of 4 pickup patterns– Omnidirectional– Cardiod– Super cardiod

Microphones

• Can have one of 4 pickup patterns– Omnidirectional– Cardiod– Super cardiod– HyperCardoid/shotgun

Microphones

• Most common types:– short

Microphones

• Most common types:– Short– Boom

Microphones

• Most common types:– Short– Boom– lavalier

Microphones

• Most common types:– Short– Boom– Lavalier– plant

• If a mic is in shot -- at a podium for example -- use a boom anyway.– That way you have more control over the

sound – your actor won’t have to stay still and can actually move around.

• If a mic is in shot -- at a podium for example -- use a boom anyway.– That way you have more control over the

sound – your actor won’t have to stay still and can actually move around.

• Condenser mics are powered. – Battery or line power through the xlr cable

• If a mic is in shot -- at a podium for example -- use a boom anyway.– That way you have more control over the

sound – your actor won’t have to stay still and can actually move around.

• Condenser mics are powered. – Battery or line power through the xlr cable

• Dynamic mics are not powered – less sensitive.

• If a mic is in shot -- at a podium for example -- use a boom anyway.– That way you have more control over the

sound – your actor won’t have to stay still and can actually move around.

• Condenser mics are powered. – Battery or line power through the xlr cable

• Dynamic mics are not powered – less sensitive.

• Pro-audio gear uses xlr mics exclusively.

• Try going dual with your recording– On-camera mic– External recorder (preferably one with

timecode but not necessary – use a clapper to sync the audio)

• There are at least two reasons to avoid using the built-in mic– 1. built in mics tend to pickup the machine

noise– 2. mic in the camera will almost always give

you the wrong audio perspective.