Recording Sound:
Sound may very well be the major deciding factor in how professional the quality of your finished project is. From personal experience, if I put on a student film and hear the tell-tale sounds of the in-camera microphone (tinny sound, overly ambient, audible gears turning inside the camera), I'm much more likely to dismiss the entire film as I feel like I'm watching a home video. This poor quality is true about the in-camera mics on even some of the highest of high-end cameras; when you factor in the possibility that some of us may very well be using home video cameras; it's even more of a necessity to take the measures needed for pro quality sound.
So, how do we do it? First, we need a good microphone. There are primarily four options when it comes to recording on location:
The In-Camera Microphone: If you must use the camera's mic, I'd consider running the audio through an editing program to tweak it a bit. I've been using the in-camera mic on almost every short I've done so far - however, none of these films have had dialog, most don't have their original audio and have been dubbed later with the necessary atmospheric sounds, and even more so -- most of my work is dubbed with music. As far as dialog goes, I've heard the difference between subjects speaking through the camera's mic and through external mics; and it was enough of a difference to convince me to put together my own boom.
Lavaliere Microphone: These are the clip-on microphones which are fine for interviews and documentaries, but won't do much good if you're going for a cinematic look. These are hard to hide as they cannot be covered by clothing or fabric because the sound will be muffled. If you are indeed shooting a piece in which the presence of mics on-screen are acceptable, these are a good option as they supposedly record good sound. I've yet to use one, but have read that the "AUDIO TECHNICA Omnidirectional Lavaliere Microphone #ATR-35S" can be had on eBay for around $30. This model cuts off sounds below 50hz, which means that low rumbles (such as traffic) won't be heard.
Dynamic Handheld Microphone: These are usually used by singers as they are resistant to moisture. They are relatively sturdy, and a professional model can generally record decent sound at a small price. I haven't researched these as far as company and model go, though I currently use a dynamic mic attached to a boom arm and I'm pleased with the sound. This is a temporary set up however, as I found this microphone in the trash and the left channel has stopped recording.
Shotgun Microphone: The best option if you have another person around to work a boom. These are the mics that are normally used on professional films. They're highly directional, which means that it will only pick up sound from what it is pointed at, cutting out background noise. However, should the subject talk away from the direction of the microphone at any point, chances are that section will come out muffled. The best setup for a shotgun is on a boom, directly in front of or above the subject. The boom operator should make sure that the mic is always pointed at the subject's mouth but out of frame, while wearing headphones to monitor the sound during shooting.
In the last entry, I asked readers to let me know if they know of any deals on the "Sennheiser ME66" shotgun microphone (pictured above). This mic records broadcast quality audio, is externally powered, and has all around good reviews from every source I've checked. I've also heard it in action in an Izzy Video (mentioned in the previous post), and I'm impressed with it's quality. The device is however around $300, and while this is a decent price for what it does, it's unfortunately out of my price range for microphones. I'll keep my eyes peeled for a deal on this one and suggest that some of you do the same for yourselves.
All of these external mics rely on whether or not your camera has a microphone input jack (photo below). I haven't seen a camera without one in nearly 5 years, but should you be stuck with one which lacks an input jack, you'll need to record through another device. This choice is up to you, you could use another (cheaper) camera, a laptop, a DAT, regardless - if you do use a device that is separate from your camera, you'll need to slate. A slate is a visual/audio cue used to sync footage up with it's audio. The slate has a clapper on top, two pieces of wood connected by a hinge that bang together audibly. The idea is to hold this up in front of the camera, say "marker" (or any other word that lets you know in post that the clapper's cue is coming), then bang the pieces of wood together while holding the slate steady in front of the camera. During editing, you cut the video on the frame in which the wooden clappers touch, and the audio on the instant you hear the "clap". Hopefully, your sound is now synched.
As stated previously, a good recording technique is the use of a boom. A boom is a device that holds the microphone a good distance from the operator's body, which is positioned out of camera frame while being pointed at the actors. Professional booms are expensive -- hundreds of dollars, sometimes more. I've read a lot of sources that say "a good, cheap alternative to a boom is simply taping a microphone to a boom handle". I'm always a fan of "good, cheap alternatives", so I gave this a shot.
It doesn't quite work.
Every little sound travels up the pole and is picked up by the mic. When I say "every little sound", I mean that even the muscles in my hand flexing against the pole were picked up as loud, bassy noises. So, I looked at professional boom poles online and found a major difference between them and my broom handle. Professional boom poles have something called a shock mount, a device that separates the microphone from the pole, so that sounds traveling up the pole don't have a means of reaching the mic.
I went to the hardware store and for less than $10 I picked up a PVC T-Joint, hot glue, and a bag of rubber bands. I hot glued a microphone stand clip (which comes with many microphones) to the broom handle, and glued that into the bottom of the T-Joint, and heated up a kitchen knife to cut slots for the rubber bands, which the mic would slip into. The construction, while difficult to explain, is apparent from the photos below:
The idea is that the rubber bands hold the microphone in the center of the PVC pipe, while absorbing sounds and shocks coming from the broom handle. The looser the rubber bands, the more sound they absorb. I then spray painted the PVC black (as it was previously white), to prevent it from picking up enough light for it's reflection to show up on anything in frame. While it isn't pretty, and the rubber bands need to be replaced occasionally due to drying out, this construction works quite well. I have seen nearly identical D.I.Y. shock mounts throughout the internet. Two good examples (with step by step instructions) are Mac Movie Maker and SlottWeak.com.
When recording audio outside, a good idea would be to use a wind screen to cut down on the noise. I have heard of acceptable substitutes such as pantyhose and pieces of faux fur, but I've noticed that wind screens don't seem to cost too much, so it might be worth it to just buy a real one. Decide for yourself by experimenting with different alternatives to hopefully get the sound you want. I'd suggest using a windscreen only if you feel that it's absolutely necessary, as it can cut down the high end of audio meaning you may have to bring the treble up a bit during editing.
As stated before, be sure to monitor the sound while shooting by plugging a pair of headphones into the camera (photo below). It's a terrible disappointment when you have your shot, put your equipment away, begin to edit, and realize that your mic picked up the squealing of a nearby computer monitor, or that you forgot to turn the mic on all together. It's a good idea to turn off all electronics while recording sound, some devices put out a high pitched buzz that we cannot hear but our equipment can; and some devices such as refrigerators and computers put out a hum that sounds natural and steady to us, but on tape it can change tones or overpower vocals. Remember: you can always add ambient sounds later, but it's extremely difficult to take them out.
I hope this post has been informative.
If you have questions, comments, or feel that something is incorrect or inaccurate, feel free to comment and let me know. I'm not an expert, and the process of recording pro audio is a newer one to me.
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