Priorities of Recording Objectives of the Production Mixer
1. Get usable DIALOGUE <ul><li>Any way that you can… </li></ul><ul><li>Crisp, clean for the editor to use </li></ul><ul><l...
2. Control Perspective <ul><li>Audio should match camera point-of-view </li></ul><ul><li>Intimate = pure voice, less backg...
Beware Perspective mismatch <ul><li>Front to back. </li></ul><ul><li>Side to side. </li></ul><ul><li>Plant mic vs. primary...
3. SYNC Sound Effects <ul><li>Never risk the dialogue for sound effects </li></ul><ul><li>Be careful about overlaps. SFX a...
4. Wild Lines <ul><li>Hidden or distant faces. If you cannot read the lips, then sync does not matter. Cheat long shots wi...
5. Wild Sound Effects <ul><li>Background tracks </li></ul><ul><li>Non-sync or easy to sync effects </li></ul><ul><li>Uniqu...
6. Ambiance or Room Tone <ul><li>Used to patch holes in the edited soundtrack </li></ul><ul><li>Must match the scene preci...
REVIEW of Priorites <ul><li>Dialogue. </li></ul><ul><li>Perspective. </li></ul><ul><li>Sync sound effects. </li></ul><ul><...
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Priorities Of Recording

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Priorities Of Recording

  1. 1. Priorities of Recording Objectives of the Production Mixer
  2. 2. 1. Get usable DIALOGUE <ul><li>Any way that you can… </li></ul><ul><li>Crisp, clean for the editor to use </li></ul><ul><li>Or as good as possible for ADR / “looping” </li></ul><ul><li>Dialogue is your Number One Priority! Everything else can be created in Post if necessary. </li></ul>
  3. 3. 2. Control Perspective <ul><li>Audio should match camera point-of-view </li></ul><ul><li>Intimate = pure voice, less background </li></ul><ul><li>Wide = voice + background ambiance </li></ul>
  4. 4. Beware Perspective mismatch <ul><li>Front to back. </li></ul><ul><li>Side to side. </li></ul><ul><li>Plant mic vs. primary mic </li></ul>
  5. 5. 3. SYNC Sound Effects <ul><li>Never risk the dialogue for sound effects </li></ul><ul><li>Be careful about overlaps. SFX are okay before, after, or in between dialog. </li></ul><ul><li>ASK the Director to have talent time their actions in between lines, not during them. </li></ul><ul><li>Might be temp effects for rough cut, to be replaced later </li></ul>
  6. 6. 4. Wild Lines <ul><li>Hidden or distant faces. If you cannot read the lips, then sync does not matter. Cheat long shots with dialogue from CU’s </li></ul><ul><li>Off-camera lines. </li></ul><ul><li>Protection tracks. Coverage for looping. Coverage for profanity or recognizable names, trademarks, etc. </li></ul>
  7. 7. 5. Wild Sound Effects <ul><li>Background tracks </li></ul><ul><li>Non-sync or easy to sync effects </li></ul><ul><li>Unique sounds not readily available from SFX Libraries </li></ul>
  8. 8. 6. Ambiance or Room Tone <ul><li>Used to patch holes in the edited soundtrack </li></ul><ul><li>Must match the scene precisely. Same background sounds, same volume. </li></ul><ul><li>Use same mic, same settings as dialogue </li></ul><ul><li>Record with actors, crew, and lighting – same as during scene </li></ul><ul><li>Fred’s Hint: First take of scene per location </li></ul><ul><li>Add a few seconds of pre-roll and end-roll </li></ul>
  9. 9. REVIEW of Priorites <ul><li>Dialogue. </li></ul><ul><li>Perspective. </li></ul><ul><li>Sync sound effects. </li></ul><ul><li>Wild Lines. </li></ul><ul><li>Wild Sound Effects. </li></ul><ul><li>Ambiance or Room Tone. </li></ul>

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