Dr. Sound

Welcome to this series of articles on creating soundtracks to your video/film. Over the next few months we’ll be taking a look at the best way to go about recording a soundtrack to your film/video. So, let’s begin with the basics then. What will you need to get started?

You will most probably have noticed that the microphone attached to your camcorder is not the best way to record sound. It’s OK for a guide track when the intention is to add replacement dialogue later, but the quality of such microphone is normally not up to scratch for capturing anything of use.

Why do I need to buy another Microphone?

There are two main reasons for this. If you are trying to get that all important establishing shot and wish to record dialogue you are going to have to position the camera a long way from your subject and its microphone will not be close enough to record the detail you require. Instead, because of its proximity it will be recording everything you don’t want! If the manufacturer says your microphone has a zoom function, then don’t you believe it! I have yet to find a microphone that can give you broadcast quality sound, which operates in this way. It just isn’t that simple! You will also find that a microphone attached to your camcorder will pick up a lot of camera noise. Every time you so much as ‘pull focus’ you can be sure that microphone will pick it up. Consumer grade microphones are not designed for the intricacies of professional sound recording period! Why spend hours framing the perfect shot with your new DV camera only to have it ruined by bad sound?

If you do not posses a good external microphone, it’s time to start looking for one. There are many good, budget microphones on the market, but I would firmly suggest that you avoid your high-street retailer like the plague and get advice from an independent company that specialises in producing gear to broadcast standard. Broadcast standard does not necessarily mean your purchase has to be expensive and results from budget broadcast standard microphones can give very pleasing results indeed.

Types of Microphones

When purchasing your first microphone be aware of the different types on the market. You will need to do a great deal of research into these. I would suggest buying a good book such as Sound Techniques for Video and TV by Glyn Atkin (published by focal press) before buying anything. Most designs of microphone have very specific uses and some really are not suitable for Video/Film sound production at all. You will need to ask yourself a lot of questions about the type of production you are about to make before you rush out to buy.

Recording Sound for Documentaries

If it is a documentary it will not matter so much that the microphone is in shot (though a big fluffy boom microphone creeping into frame should always be avoided J). It is normal practice to use a lapel/tie clip/clip-on microphone when recording an interviewee, or when the reporter is making a direct address to camera. These are small enough as to be inconspicuous and though in shot are deemed totally acceptable by the viewer, because he or she is aware that documentaries feature ‘real people who have to be heard’. Hand held microphones for a reporter are OK in news programmes, but there is something that looks incredibly dated about their use in documentaries. Of course you may decide to have a voice-over as a narrative device, which will cut out the need for any direct address to camera by a reporter/presenter anyway. Voice Overs (VO’s) should always be recorded in the dead and soundproofed atmosphere of a studio (even if that be a makeshift one). Naturally to record your wild track and ambient sounds you will use a different type of microphone altogether. We’ll be dealing with all of these areas in greater detail next time.

Sound for Fiction

Producing a piece of fiction? Your overall aim should be to keep all microphones out of shot all the time unless your name is Jean Luc Goddard. Normally any hint of any film production equipment actually appearing in your movie is a no no! You do not want to remind your audience that they are watching a film. You may have noticed that even the professionals get it wrong. Ever noticed that fluffy UFO creeping into the top of your favourite film?

Great care must be taken when recording drama. You want to get close enough to the subject to get a good recording, but you will have to liase with the camera operator closely throughout the shoot to make sure your microphone is not in shot.

Buy a DAT Machine or Minidisk Recorder

Consider purchasing a DAT machine, or minidisk (much cheaper). It is never ideal to record the audio you will later use as your soundtrack onto your DV, though your DV should be recording audio for syncing purposes later. By recording your soundtrack onto a separate machine you are free to move wherever, without being within two feet of the camera operator for the entire shoot. You will want to get in close to record detail and while the camera operator and director are framing the shot they require it will free you up to go and record some wild track (background sounds) that can be edited in later. Saving time = saving money in the media.

Next month I’ll be going into more detail about the types of microphone that are available to the film/video sound recordist. We’ll be looking at taking levels, microphone positioning and why you should never use an automatic limiter (unless you are a news sound recordist taken by surprise ).



Please feel free to send in your sound related questions and comments


DrSound@BudgetFilmMaker.com