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Sound
Sound
Sound
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Sound
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Sound
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Sound

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Transcript

  • 1.  
  • 2. Sound
    • Is omnidirectional
    • Is omnipresent
  • 3. Sound
    • Quality (timbre)
    • Level
    • Continuity
  • 4. Sound
    • Acoustics
    • Clap your hands
    • Listen
    • Background noise
    • Wild track
  • 5. Sound Unlike light - sound dissipates quickly - on a logarithmic scale
  • 6. Sound Don’t think that you can manipulate poor sound in post production
    • You can’t:
    • Remove background noise
    • Remove echo/reverb
    • Remove distortion (clipping)
  • 7. Sound
    • But you can :
    • Add background noise
    • Add echo/reverb
    • Add music
    • Add foley
    • Re-record dialogue
    • Add SFX and music
  • 8. Recee for Audio
    • What can you control?
    • What can’t you control?
    • Think about space for booms
    • Clap your hands
  • 9. Recording Audio
    • Record as clean and flat as possible
    • Always monitor as you record
    • Listen out for extraneous noises
    • Think about continuity
    • Re-shoot if in doubt
    • Record wild track
    • Check recording
  • 10. Recording Audio If shooting with two cameras or with a separate audio recorder, always use some form of clapper
  • 11. Microphones Always think continuity Use the same microphone and placement for shots within the same scene
  • 12. Microphones The mic on the camera is useless for almost everything except a guide track
  • 13. Microphones Boom operation is a skilled and very important job
  • 14. Booms
    • The mic needs to be as close to the source of sound as possible
    • The boom should be the same distance from the source in EVERY shot in a scene
    • This means that you must plan ahead
    • You may need to use two booms
    • Boom mics are not as directional as most people think
  • 15. Boom operator’s job
    • To keep the boom as close as possible to the sound source
    • To keep the boom at the same distance for each shot in a scene
    • To ensure that the boom does not come into shot
    • Be careful not to cause any handling noise
  • 16. Using Radio Mics
    • Check frequency
    • Check audio levels
    • Listen for distortion
    • Hide the mic but be very careful of handling/clothes noise
    • Use one mic on each person - do not share mics
    • Radio mics can be placed in scenery
  • 17. Boundary Mics
    • Can be useful in some situations
    • Completely non-directional
    • Needs to sit on a flat surface - but beware of footsteps if used on the floor
    • Can be easily hidden
  • 18. Recording sound
    • Sound picked up by mics can be very different to what you hear through you ears
    • Monitor everything
    • Use good quality headphones
    • Monitor LOUD
    • Playback everything
    • Use the meters
  • 19. Recording sound
    • Listen before you start
    • Clap your hands
    • Identify potential problems
    • Make sure you understand the shot and the whole scene
    • Think about continuity
    • Choose microphone(s)
  • 20. Recording sound
    • Insist on access to the camera
    • Check the switching
    • Always record two channels
    • Stereo can only be recorded using two microphone
    • Do not use AGC
  • 21. Recording sound
    • Don’t forget to record wild track on every location (even if it sounds quiet)
    • If there are unavoidable extraneous noises make sure their source is shown
  • 22. Post-production Sound
    • Keep all sound with video when editing
    • Don’t be afraid of using multiple audio tracks
    • Keep the most important tracks at the top
    • Do not worry too much about levels at first
    • If using two cameras use the clapper and time code to sync pictures
  • 23. Post-production Sound
    • Do not finish sound using the computer speakers in the MMC
    • Add SFX and music to cover edits
    • Ensure foley and ADR matches original acoustics
    • Check audio LOUD in good quality
    • Ensure any ADR is on both channels
    • Use panning to produce a stereo soundtarck
  • 24.  

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