Location Sound I. Sound from MOS. Next week bring in one page of your sound report (or have your director). Sound for the Documentary. What to record? With what? How? Bringing a dedicated sound recordist is strongly recommended if you don’t want amateur level sound.
Next week bring in one page of your sound report (or have your director).
Bringing a dedicated sound recordist is strongly recommended if you don’t want amateur level sound.
Usually you’ll have a 2 person crew- camera and sound, the director being one of the two (usually camera).
Mixer: Shure FP33
Microphone: Shotgun & Lavs (lavs/wireless next week)
Audio Recorder: The Camera!!!
Level: ‘Strength’ of electricity (Voltage)
MIC levels areweak, small, low. (milliVolts). Not useful unless they are amplified.
Line levels are strong, over a hundred times stronger than MIC levels. (Volts)
MIC levels need to pass through a preamp in order to become line levels. MIC preamp knobs on FP33
Mic level into mixer Line level out of mixer
The dynamic range of the sound you record is constantly changing.
Sounds that are too loud will overload the electronics of your equipment and will cause _____.
Sounds that are too low must be amplified and in doing so, you also amplify _____.
One way to deal with this is by changing the input gain.
Two ways to monitor the sound: _____
Meters on the FP33, (VU or Volume Units) are different than those on the 702T and DVX100 (peak or PPM).
Average (VU) meters react much slower than Peak meters.
Ideal dialogue levels
on VU meters: -10dB - +3dB
Ideal levels on the DVX100: -20dB - 10dB
How do we know we’re recording clean audio to the camera since we can’t see the camer’s meters?
Send Line Up tone:
0 VU = -20 dBFS
Plug small end (1/8”) of breakaway cable into headphone jack in camera.
Plug other mini jack into MON IN in FP33. Switch to MON on front of FP33.
Shotgun Mic (416) Mixer (FP33) Camera (DVX100)
One talking subject.
Static shot: Record examples of levels that are
1. too high
2. too low
3. just right
Verabally slate what you’re doing.
Moving shot: subject- vary the loudness of your voice to give the sound mixer hell.
Communicate with camera operator what the frame line is.
Sound Design Presentations: We’ll pick this up in Week 9 & 10, December 7 & 14.
MOS: Bring in one page of your sound report due Nov. 30
Assignment #4: Documentary Location Sound Competition
Wide shot, med, CU.
Camera stationary, subject moves.
Camera and boom op walks backwards.
Shot with Boom (shotgun) only. (verbally slate for me)
Shot with lav only. (verbally slate for me)
One shot of wild sound, verbally slated (can be BG or SFX)
Each team member MUST mix.
Signal to noise: Levels shouldn’t be too low.
Distortion: Better be distortion-free!
Clarity of Dialogue: We need to understand what they’re saying.
Content: How interesting is your location’s sonic quality?
Verbal Slating: Did you do it?
Due in class Dec. 14. Winners get a little prize.
Lavs, wireless mics, more in-class DOC exercises
Week 9 & 10
Audio Post basics
Sound Editing techniques
Using location sound vs. sound effects from the library
Workshop a couple MOS’s
Finish Sound Design presentations