1 / 19

Location Sound I

Location Sound I. Review. Dynamic Range (of equipment) cameras vs audio recorders MIC/LINE level Phantom power Noise (hiss)- what causes it? Articles about wireless and lavs: http://soundess.wordpress.com/resources/websites-with-helpful-articles/. Wireless or Radio Mic System

marnie
Download Presentation

Location Sound I

An Image/Link below is provided (as is) to download presentation Download Policy: Content on the Website is provided to you AS IS for your information and personal use and may not be sold / licensed / shared on other websites without getting consent from its author. Content is provided to you AS IS for your information and personal use only. Download presentation by click this link. While downloading, if for some reason you are not able to download a presentation, the publisher may have deleted the file from their server. During download, if you can't get a presentation, the file might be deleted by the publisher.

E N D

Presentation Transcript

  1. Location Sound I

  2. Review • Dynamic Range (of equipment) cameras vs audio recorders • MIC/LINE level • Phantom power • Noise (hiss)- what causes it? Articles about wireless and lavs: http://soundess.wordpress.com/resources/websites-with-helpful-articles/

  3. Wireless or Radio Mic System This refers to the transmission method. Instead of an XLR cable or wire, the audio signal is transmitted via FM radio waves. transmitter (tx) and receiver (rx) Lav mic Camera mount adapter Mini to mini cable Mini to XLR cable

  4. Lavs (aka lapel mics) Lavalier or Lav microphone is any hands-free mic that’s small enough to wear on the body. Can be omni or cardiod, dynamic or condenser.

  5. Mounting lavs Lavalier mics often but not always used with wireless transmitters. For the doc, mount lav outside clothes 6”-9” directly below mouth for cleanest sound. The loop provides strain relief. Want to hide the lav? You need an accessory kit (check out B&H).

  6. Settings: Set the channel *If the sound is clean and clear you might not need to do this* On Rx (receiver) Use arrows to scroll through banks and channels, then choose a channel. There are 9 Banks that hold up to 4 channels. Or use SC AN on RX to find available frequencies. Once you find a good channel, select the same on your Tx (transmitter)

  7. Settings: Input/Output Levels Set your levels. These are just good starting points, adjust accordingly. Rx > AF OUT > -12 Tx > Sensitivity > -20 (for dialogue) Meters should be peaking in the middle. It’s easier to keep the Tx sensitivity lower and then adjust the Rx.

  8. …more Other settings: Pilot ON Squelch LO Batteries: Start a new day with fresh batteries. They typically last 6 - 8 hours. Mount the Tx (transmitter) In pockets, on belts, pants, bra or ankle make sure it’s secure.

  9. Antenna Line of sight: the clearer the path between TX and RX, the better. Why? Radio mics operate on FM channels. The radio waves bounce off metal surfaces, heavy layers of clothing, thick walls, corners etc. can obstruct the pathway from Tx to Rx. Direction: Both antenna (with this particular system) should be pointing in the same direction, otherwise there is signal loss.

  10. Still need to boom? Interference Dropouts Cries and other surprisingly loud sounds Flexibility/perspective More than two people Less intrusive (sometimes)

  11. Connecting to theFP33 FP33: Turn phantom power OFF (DYNAMIC) Inputs set to MIC Pan to R, L or center. Adjust levels. **Make a test recording and play it back!

  12. The Limiter Prevents distortion at cost of sounding artificial On FP33 PEAK/LIM lights green when engaged

  13. Low Cut Filter Supresses 150 Hz and below by 6dB per octave. Cuts down on rumble, sometimes wind distortion. Use for dialogue recording.

  14. MIXING: Healthy Levels • Test levels frequently, adjust accordingly. • Where should my peaks and needles be? TX/RX: half way (leaving room for loud surprises) FP33: btwn -10 - +3. Frequent peaks above 0 (red) ok, but your needles shouldn’t be living in the red. Camera: DVX100, first couple red squares (-12 to -8). PD150, also btwn -12 - -8. Remember, too low and though you can apply gain in post, you will also boost the hiss. Too high, distortion cannot be removed at all.

  15. MIXING: Two Speakers Options: • Split the two lav tracks, no boom • Pan two lavs to R channel, boom on L • Mix two lavs in real-time, boom on L If you’re going to mix in real-time, your hands need to be free or you need to boom op with one hand.

  16. MIXING: Cries and Whispers Riding the gain drawbacks: background sound and noise level of electronics change Boom op. Set levels for loudest part and leave alone.

  17. Watching meters and booming • Not easy! Ideal solution, a mic on each speaking person, recorded separately. We don’t have that option. • If booming, set levels a bit more conservatively, use limiters so you won’t have to turn knobs as much. • Use discretion: If person is static, you can spend more time watching meters. • Balance on head, different pole holding techniques, use pure strength • If two people, don’t attempt crazy mixing. Only “turn off” a mic if the person leaves the room/scene.

  18. Today’s Exercise: Mixing & Lavs • Mixer and Boom Op same person. • “director” put on 2nd headphone. • Lobby or exterior (lots of background noise) • Mount lavs on two people. Set Tx levels. • Mixer sets Rx levels. Mix lavs to R channel. • At some point, person #2 walks away. Person #1 continues talking, mix down person #2’s mic (one hand booming). • If you hear distortion, STOP. Figure out where it’s coming from. Fix it. • Director: After exercise, tell the camera what you thought of the sound (critique).

  19. Assignments Sound Design Presentations: Week 9 & 10, sign up now. Assignment #4: Documentary Location Sound Competition http://soundess.wordpress.com/assignments/ Due in class Dec. 14. Winners get a little prize. Next Week FCP audio basics Watch previous Observational Docs Sound Design presentations MOS brainstorming

More Related