AGoldenMedia.com

The Sound of Movies

If you are a sound person, you will be aware of the impact of sound on movies. Most of us have only a superficial familiarity and understanding of the craft of sound-making and calibrating sound in film-making. The process of sound mixing is a big mystery to the many.

One may possess enough knowledge to get the initial capture but, in making a film, would be better off finding someone with skills and training in this field. What you will require is a sound person, aka an audiophile.

What Does the Film Sound Technician Do?

The sound person will hold a boom with objective of capturing several hours of dialog and will know how best to place it for each given situation, and will also be competent with technical aspects of sound recording, eg the channel on the board during the final mix.

How Does One Make Connections With Sound Professionals or Filmmakers?

Advertise on Craig’s list or in the local Entertainment paper. I would establish and verify the credentials of anyone who responds, with references. Get a commitment from whoever you decide on early in the Pre-production phase. Sound experts will be usually be necessary right through Post-production as well. You will want to hire someone who has a proven history of finishing projects.

Find Back-Up For Every Crew Member

After you have the ideal person on board for sound, find a back up source of expertise. In every shoot, someone you absolutely believe you can count on will drop out and leave you in the lurch. Happens every time.

A Camera Mic is Not Enough for Nice Sound Quality in Film or Video

Every camera that you will use shoot in shoots will likely come with a mic. While the camera\’s mic might work in a pinch, it quite simply does not supply adequate sound. It is vital to have a good means of recording that is in sync with your image. For good execution of the sound recording process, you\’ll need a DAT (Digital Audio Tape) recorder and a good selection of mics.

While one may have a tricky time with the mechanics including the myriad of manifestations it takes, one naturally appreciates quality sound, and cringes at bad sound. You will absolutely want good sound on your film. There is some basic and essential eqipment for sound recording, that anyone involved in sound work for a film will expect, if they don\’t bring their own equipment.

These are some kinds of microphones that you can acquire, each of would best be included a film sound kit:

Omni Directional Microphone

Omni Mics record sound within the circles of the front, back, and sides of the mic, in other words, 360° around the mic. These are good if you want to record your talent delivering lines and get the ambient sounds to the backside of the mic. In the most perfect of situations the background sound and dialog will be recorded on separate tracks. Once you bring them back to the studio for the final mix you will possess the skills to adjust the ambient sound track slightly lower and the dialog track a bit higher. This will make it so the dialog is heard clearly while having the ambient sound is there as well.

Directional Microphone

This is pretty much self-explanatory. A directional mic records specifically in someone direction and that is the direction of the speaker. These are used for the purpose of reporting or interviewing and can be hand held or clip-on.

Shotgun Microphone

A Shotgun mic or a gun mic, is a microphone that picks up sound in a distance. While these are great if you are a private detective and want to get private conversations, but they are especially effective on the end of a boom used in production.

Lavalier or Lapel Microphones

This is a mic that is clipped onto a shirt lapel or collar and is usually
an Omni directional mic. This mic is good for interviews and commentary reporting but, beyond that, they are limiting because the rustle of clothing interferes with a clean recording.

If you are actually recording dialog you will probably do one of two things. You will do voice over recording in the studio or you will use a live mic. Recording live would require the use of a directional mic to the end of a boom.

If it’s on location outside you may be in need of to use a shotgun mic on a boom with a windshield (constructed of furry or foam material) that fits over the mic to block out the interference of wind blowing to the mic.

Once again, a school equipment loan program is going to have a range of these items so, if you can access film school resources (sometimes making connections with professors can help, if you are not a film student). Otherwise it will be a good idea to rent or purchase some — ideally all of the equipment the equipment mentioned here.

Holding a Boom During a Shoot

It is harder than it sounds. It demands good concentration and strong arms. You will have to roll the boom back an forth at times to pick up cross dialog. Be sure you provide meals, snacks and drinks to the Boom Operator and the rest of the crew to keep up good morale during a shoot (VERY important). Sound is a valuable job and requires patience and endurance. A film without good sound effects and appropriate sound tracks, makes for a very bland movie. Good sound radically improves a film as anyone filmmaker will attest.

There was a horror movie soundtrack composer, who had the spookiest and weirdest sounds coming out of his house. He did the sound track for The Howling, the original — not any of the sequels. He had a sound studio in his home that he worked out of. Every now and then there would be a scream or a crash and neighbors knew he was doing his thing (though new neighbors would get get frightened out of their wits).

Foley Work

Another sound element you may want to consider is Foley work. Foley work is carried out in the studio to produce sound effects that will enhance the scene. A squeaking door, the squelching sound of wet shoes walking through the mud, tinkling glasses and silverware in a restaurant, and the sound of a fist hitting flesh, these are all sounds that could be produced in a Foley environment. This type of sound needs to be exaggerted to make an impact on the audience watching the film.

Foley sounds are recorded on a track that is laid down with other tracks. Then you can fade it in or out as you see the need in the scene. It might be a good idea to continue a Foley library of sounds to use, just as you have an image library to use.

Sound Tracks

If you are going to have a sound track, and you will want one, I encourage you to use all original scores and lyrics. You’ll want avoid potential copyright battles. This is when networking comes into play. Find a music student who is looking for projects. Once, try Craig’s List.

2-Way Radios

One last remaining item that is necessary for a film shoot are remote 2-way radios. Nextel offers a good product that you can consider. There may many brands that offers comparable features at competitive prices. So, shop around for the best deal for 2-way radio, and get as many as you will need to ensure good communication with everyone in the crew during shoots.

If you're new here, you may want to subscribe to my RSS feed. Thanks for visiting!

Read the rest »