This document provides an overview of microphones and sound recording. It discusses the three main types of microphones - dynamic, ribbon, and condenser microphones. It describes the characteristics and uses of each type. It also covers microphone pickup patterns like cardioid, supercardioid, omnidirectional, and figure-eight. The document discusses the importance of using external recorders for higher quality audio and techniques for syncing video and audio. It also addresses the use and importance of sound effects for adding realism and depth to video productions.

1. * Microphones
* Recorders
* Sound Effects
Introduction to Video production
FILM 290
Oyetayo Raymond Ojoade

2. What is a Microphone?
 Sounds are vibrations in the air.
 We enjoy sounds in the form of music or audio
because we sense these vibrations in the air.
 Microphones convert these vibrations into electrical
signals.
 A microphone converts sound waves into electrical
energy variations which may then be: amplified,
transmitted, or recorded.

3. Microphone Types
 There are three main types of microphones.
 Dynamic, Ribbon, and Condenser

4. Dynamic Microphone
 Dynamic microphones are what you usually see a
singer singing into during a show.
 They perform better when used close to the
source.
 They are generally very durable.
 They have the cardioid microphone pattern and are
omnidirectional.

5. Dynamic Microphone
635A Dynamic Omnidirectional microphone also referred
to as the “Hammer head” microphone because of it’s
shape and ruggedness.

6. Ribbon Microphone
 Ribbon microphones are typically bidirectional,
meaning that they pick up sounds equally well
from either side of the microphone.

7. Ribbon Microphone

8. Condenser microphones
 Condenser microphones are the most common types
of microphones you'll find in studios.
 They need phantom power to work (48V).
 Phantom power is electrical power that is sent to a
condenser mic through its mic cable.
 The cable must have XLR connectors to pass
phantom power.

9. XLR Cable Connectors
1 = ground
2 = red
3 = black

10. Pop Shield
 Often during recording, a "pop shield" filter is
required to protect against noise caused by the
vocalist's breath hitting the condenser microphone.

11. Condenser microphones
 Condenser microphones are able to react to more
subtle sounds.
 Condenser microphones are not suited for high-
volume recording
 Dynamic microphones are mainly used in situations
with loud audio.

12. Condenser microphones
Sennheiser ew 100 ENG G3 Lavalier Omnidirectional Condenser
Microphone

13. How Microphones Pickup
Sound
 Microphones receive sound either:
 Directional (from one direction only),
 Omnidirectional (from all directions at once)
 The way a microphone receives sound is called the
pickup pattern, and four patterns are typically found in
a microphone design: omnidirectional, cardioid,
Super cardioid, and figure 8.

14. Cardioid Microphone
 A Cardioid microphone is heart-shaped and picks up
audio signals directionally.
 They are good for live events
 The dynamic microphones are cardioid in nature
 When you point a cardioid microphone at a sound
source, the microphone will pick up the sound from
the direction of that source and little or no background
noise.

15. Cardioid Microphone

16. Super cardioid microphones
 Super cardioid microphones have a narrower pickup
than cardioids.
 They have greater rejection of ambient sound.
 They also pick up a small amount of sound from
directly behind.

17. Super cardioid microphones
Sennheiser MKH 418 P48 Stereo Shotgun
Supercardioid Microphone

18. Super cardioid microphones

19. Omnidirectional
microphones
 Omnidirectional microphones pick up sounds from all
angles.
 This microphone does not need to be aimed in any
particular direction. This can be particularly useful
when using a lapel microphone to capture the voice of
someone speaking, as the individual can move their
head without affecting the sound.

20. Omnidirectional
microphones

21. Figure Eight (Bidirectional)
Microphone
 A microphone with a figure eight polar pattern picks up
the sound from the sides but not from the top of the
microphone and the rear.
 Microphones with a figure eight polar pattern are
typically ribbon or large diaphragm condenser
microphones.

22. Figure Eight (Bidirectional)
Microphone

23. Microphone Patterns

24. Camera built in microphone
 The main problem with using built in camera
microphones is the external noise one will pick up
when recording.
 One will need to get closer to the source to get good
audio as well as maintaining the right composition.
(Shot size and Rule of thirds).
 The best solution is to use a separate audio recording
device, that is away from the camera. Many portable
recording devices have built in microphones that are
far superior to camera or camcorder microphones.

25. External Recorders
 These days many professional videographers are
using external audio recorders to record audio during
video shoots
 The internal audio in the DSLR cameras is only used
for reference.
 After the video shoot, the external audio is then
synced with the internal audio from the DSLR camera.
 The results are perfect quality audio

26. External Recorders
 The practice of recording audio on a separate device
is called "double-system" shooting.
 The first step is to set the recorder to record 24-bit 48
kHz WAV files. These files sound great, will give you
good headroom, and will play well with video files in
post production.
 The second step is to have a clapperboard or the use
of your hands to clap then press record on both
devices that is the camera and external recorder.

27. XLR Audio Cable
 An XLR cable is very essential as well when using an
external audio recorder. This way you can attach the
microphone to the XLR cable and let the interviewee
hold the mic for better audio quality.
 If there is no XLR cable but you have an external
recorder, you will be restricted to certain camera sizes
like extreme close ups and medium shots because the
mic on the external recorder will need to be close to
the person being interviewed to avoid ambient sounds
from affecting the main audio.

28. External Recorder
Attached to Camera

29. External Recorders
 If you're going to be shooting outdoors, it's absolutely
necessary to use additional wind protection over the
built-in microphones on the portable digital recorder.
 If you have a separate mic, the mic will need to have a
foam windscreen protection over it as well. This will
break down any sounds like the wind interfering with
the audio recording.
 A secret to recording outdoors in a windy environment
is too back the wind so that it does not blow directly
into the mic causing distortion.

30. External Recorders
 The kind of mics you can use will vary, depending on
what kind of microphone input your recorder has.
Many portable digital recorders only have a single
mini-plug external microphone input; while others
have multiple 3-pin XLR microphone. Generally
speaking, XLR inputs are for professional
microphones and mini-plug inputs are compatible with
consumer microphones.
 No matter what you do, it is always about getting the
microphones closer to the action to prevent distortion
and ambience affecting the audio recording.

31. Shotgun Microphone
Setup

32. Shotgun Microphone
Setup

33. Wireless Mics with
Recorders
 Using wireless mics with portable digital recorders
requires a different approach. Instead of mounting
them on boom poles, you're going to be clipping the
tiny lavalier mics to your subject's clothing, attaching a
belt pack transmitter to their body and plugging a
wireless receiver into the mic input on your portable
recorder.
 Be sure to have fresh batteries
 Make sure that the lavalier mic isn't rubbing against
your subject's clothing or picking up any wind noise

34. External Audio A Two Man
Job
 To achieve great audio it is better to have one person
operate the camera and another concentrate on
sound recording.
 This way the camera operator can achieve desired
shots while the audio person can work on maintaining
audio levels.
 Remember that manual gain controls give more
natural results.

35. External Audio
A Two Man Job

36. External Audio
A Two Man Job
 Using a field mixer with a portable digital recorder
does many things to improve the quality of your audio.
 The basic idea behind using a field mixer is that you
plug the microphones into the mixer and then plug the
output of the mixer into the portable digital recorder.
 You can raise and lower the levels of the different mics
as needed with the channel fader knobs.

37. Sync’ing Video and Audio
 Recording of video and audio separately requires
sync’ing otherwise it will result in audio and video
being out of sync.
 The simplest way to do this is to use a clapper board,
or someone using a single handclap in view of the
camera, and with the audio rolling in the external
recorder.

38. Clapperboard
 The bottom of the clapperboard is normally a slate of some
sort on which you can write the scene and take number.
 This information helps identify the shot during editing.
 Once the tape recorder and camera are rolling, the
clapperboard operator places the clapperboard in front of
the camera so the camera can see it, reads the scene and
take information so the tape recorder can hear it, and then
claps the clapper.
 During editing, it is easy to synchronize the visual of the
clapper clapping with the "clap" sound it makes on the
tape.

39. Clapperboard

40. Clapperboard
https://www.youtube.com/watch?v=5yWb3PM2RqE

41. Importance of Sound Effects
 A sound effect is sound that is ready-made.
 Sound Effects make a creation of a production easier
and more professional.
 Sound effects add depth and realism to a video
production.
 They impact the audience’s experience significantly.

42. Importance of Sound Effects
 You see it –
you hear it –
you must believe it!

43. Importance of Sound Effects
 Barely heard sounds like a clock ticking, bird singing,
passing traffic, a distant dog, and feet walking when
enhanced bring a scene to life.
 That is what is derived by sound effects

44. Sound Effects

45. Importance of Sound Effects
 A woman is sitting in her living room. The door opens
and her husband walks into the room.
 With the addition of a few sound effects, it is possible
to inform the audience that he has driven up to the
house, parked his car, walked to the door, and used
his key to unlock the door. None of this was shot. It
was an illusion created with effects.
 Class activity – Students should introduce the sound
effects.

46. Diegetic and Non-diegetic
Sound
 Non-diegetic sounds are sounds that have been
added in, this can include things like music,
a narration and sound effects.
 Non-diegetic sounds are often used to add drama to
moments that would be silent without it.

47. Diegetic and Non-diegetic
Sound
 https://www.youtube.com/watch?v=H_4hOY-9nKA

48. Topics for Second
Assignment
 Feature Story with vox pops – 25%
 Based on a topic, each student will write a 2-3 minute
news/feature story.
 4-6 sound bytes to incorporate within the script
 Narrations and cutaways should be used as well
 Students will submit on an SD card:
 Assignment
 Tape Log
 Script
 Storyboard

49. Topics for Second
Assignment
 Plot to kill Gary Griffith
 Legalizing Marijuana
 Outcome of Illegal immigrants in Trinidad and Tobago
 Community leaders
 Review on Carnival 2019