Audio for Video

1. Audio for Video Or, how to make sound that doesn’t suck.

2. Soundtracks • Consist of three elements:

3. Soundtracks • Consist of three elements: • Dialog • Music • Sound effects

4. Nothing beats getting good sound in the first place.

5. Three main points for good recording. • Capture clean audio • Record speech as a distortion-free mono track

6. 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.

7. 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.

8. 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

9. 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

10. 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.

11. 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.

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

13. The Sound Crew • Sound recordist • Person who operates the audio recorder • On some shoots it is separate from the camera

14. 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

15. 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

16. 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)

17. Microphones • Can have one of 4 pickup patterns • Omnidirectional

18. Microphones • Can have one of 4 pickup patterns • Omnidirectional • Cardiod

19. Microphones • Can have one of 4 pickup patterns • Omnidirectional • Cardiod • Super cardiod

20. Microphones • Can have one of 4 pickup patterns • Omnidirectional • Cardiod • Super cardiod • HyperCardoid/shotgun

21. Microphones • Most common types: • short

22. Microphones • Most common types: • Short • Boom

23. Microphones • Most common types: • Short • Boom • lavalier

24. Microphones • Most common types: • Short • Boom • Lavalier • plant

25. 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.

26. 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

27. 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.

28. 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.

29. 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)

30. 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.