George mIlioris_Film Sound Lecture 01
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This document provides an overview of considerations for audio recording for film. It discusses pre-production planning such as reading the script and storyboarding to identify sound needs. It also covers the roles of the recording team including the sound mixer, boom operator, and equipment used. Finally, it discusses various microphone techniques for different shooting situations like booming, lavaliere, wireless, and camera-mounted microphones. Key specifications for film sound microphones like self-noise and sensitivity are also reviewed.
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George mIlioris_Film Sound Lecture 01
- 1. Film Sound Lecture 01 © George Milioris
- 2. • Considerations during pre-production • The recording team – equipment • Audio recording techniques for film • Considerations for choosing the right microphone • The production track • Setting up Pro Tools for recording audio for film
- 3. Read the Script and Make Notes about Sound
- 4. Storyboard
- 7. What does the shot demand ? W i l l t h e
- 8. The Recording Team-Equipment • Sound Mixer • Boom Operator • The Cable Man • Sound cart • Sound recorders • Mixers • Microphones • Cables • Wireless microphones • Boom poles • Pistol grips & Zeppelins • Misc adapters • Communication devices • Voltage meter • Battery supply • Headphones
- 10. The Sound Mixer In collaboration with the producer and director discusses best ways to tackle the recording challenges of the production sound. This may include: type of equipment, sampling rate-bit depth, mic-setups. Sound mixers also keep notes and sound reports that help picture and sound editors through the maze of sync recordings. Sound mixer is also responsible for hiring boom operator and checking sync.
- 11. Professional Boom Op. or Rehearse the shot
- 12. Boom Operator • He must know the exact positions of invisible boundaries below which the microphone must not dip down into camera view. • The boom operator must also memorize light throws and angles so as not to allow the shadow of the microphone to be seen on any surface of the area being photographed. • The boom operator must also know the delicate workings of radio microphones and how to wire an actor quickly. • The boom operator must be constantly on the lookout for anything making unwanted noise. • Good boom ops do not complain and report problems to the sound mixer. • Agile, attentive, observant • Good relationship with crew personnel
- 13. Booming • Natural balanced sound • On wider shots, the mic tends to be higher resulting in thinner, more distant sounding dialogue. • Boom as Overhead: multiple actors to be recorded with a single mic, effects and noises picked up to give the soundtrack a full texture. If faces are close to the mic dialogue dominates over effects. • Boom underneath: dialogue tends to be bassy, sound effects may be appear louder than dialogue, not good perspective. It is used for documentaries
- 14. Booming • Boom as Overhead (straight down with Omni) It pick ups a uniform ambient background sounds, regardless of which way the performance comes. However footsteps seem to dominate. • Boom as Overhead (aiming the throat, nose, mouth, chest of the actor) • Boom underneath: dialogue tends to be bassy, sound effects may be appear louder than dialogue, not good perspective. • The secret is consistency!
- 20. Other microphone techniques • Pistol grip • Lavaliere • Camera mounted microphones • Wireless microphones • Hidden microphones (recording within a car)
- 21. Lavaliere Tiny microphones worn on the actor's body either inside or outside clothing. They are prone to problems with perspective and contact noise. The voice dominate the soundtrack-actors always sound close to the camera. Not good ballance with ambinece and effects. For better results place the mic further down actor's chest and use supplumentary boom to imrpove problems of perspective ambience and presence to effects such as footsteps.
- 22. Camera mounted mic Vibration from the camera, background noise, away from the source. If another person is available use a pistol grip Wireless Mics RF interference. However, useful when the boom operator can not get close to the action and it is impractical to use a lav. Multiple Mics (Gosford park 44:00) Used on large sets. Phase problems.
- 28. Important mic. specifications for film sound. • Self Noise & S/N ratio • Sensitivity mv/Pa & Rated impedance • Max SPL • Off Axis rejection
- 29. Beyerdynamic MCE 86 Vs Rode NTG2 • Self Noise: 25 dB _ 18 dB (A-Weighted) • Sensitivity mv/Pa: -47 dBV_ -36dBV • Output impedance: 190Ohm_250Ohm • Max SPL: 138 dB _ 131 dB