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.