Filmmakers strive for great video quality, but should also not overlook the importance of sound. While audiences will sometimes tolerate poor picture quality, they rarely tolerate inadequate or poor-sounding sounds.
An effective filmmaking sound crew requires access to appropriate audio recording devices for on-set recording. Here, we discuss basic on-set audio recording devices and their proper use on set.
Portable audio recorders
While MP3 players feature built-in mics, filmmakers seeking high-quality audio for video productions require more than just a click-and-go digital pen. Portable audio recorders provide just such an alternative: handheld recorders equipped with multiple connections for powering external lavalier and shotgun microphones as well as higher sample rates and standard SD cards ensure there’s never an issue on set due to running out of storage space.
There are numerous portable audio recorders on the market, so when searching for one it is essential that you understand which features to look out for. First and foremost is to find one with a good self noise rating, to reduce background hissing and one which supports phantom power for most external microphones.
Some portable recorders come equipped with built-in X/Y stereo mics for recording ambient sounds; others feature 3.5mm inputs to connect lapel microphones; while still others have an internal timecode generator to keep track of shots on set and even allow users to plug in headset microphones for interviewing subjects.
Handheld recorders designed for one-hand operation are ideal for running-and-gun shooting, which is commonplace in filmmaking. Such models typically boast improved preamps and ergonomics while being more costly; some models may even support 32-bit float recording – more accurate than 24-bit recording that prevents clipping in high resolution recordings.
Shotgun microphones
Shotgun microphones, so-called for their long and narrow shape, are widely employed in filmmaking to capture dialogue and other sounds with minimal pickup from other directions. Usually mounted to boom poles or camera rigs so as to not appear in final footage as an unsightly obstruction, shotgun mics must also be kept close to their source in order to capture high-quality audio recordings.
Shotgun microphones consist of a standard mic capsule (or diaphragm) mounted at the end of a long, slotted tube called an interference tube. When sound waves enter from its front side unobstructedly to its diaphragm, while those arriving from either its sides or back enter different slits in different orders before reaching its diaphragm – with longer microphones featuring more such slots reducing off-axis frequency rejection capacity.
Modern shotgun mics feature many useful accessories that increase their versatility and functionality, such as windscreens. Windscreens are particularly necessary when recording outdoors because they protect the mic from wind noise that would otherwise ruin its recording quality. In addition, many modern mics offer dials or switches for more direct control over its tone or level settings.
Lavalier microphones are often preferred for filmmaking due to their excellent signal-to-noise ratio and ability to be clipped discreetly to subjects’ clothing or heads for recording purposes. Both wired and wireless lavalier mics can plug directly into your camera or audio recorder and record their sounds directly into video files.
Ambient microphones
Filmmaking may be predominantly visual, but sound quality is integral for creating a realistic world. Ambient microphones can capture various sounds like crowd noise, distant reverberation, room tone and field ambience. For the best results select an omnidirectional mic with high sensitivity rating and low self-noise; such microphones capture sound from all directions, making them suitable for recording ambient sounds in large spaces.
If your film features dialogue recorded at locations other than its initial filming spot, it is imperative that location tests be conducted to assess whether or not these spots have suitable ambient noise levels and reverberation levels for clear and intelligible dialogue recording. By bringing sound recording equipment along for this test, sample recordings will help assess audio quality as well as determine any required acoustic treatments to maintain consistent audio quality throughout.
As part of your location tests, make sure to test the microphones for appropriate positioning and clarity. Position a boom microphone near enough to capture dialogue without interfering with camera frame; or try using lavalier mics to capture individual actor dialogue – these discreet yet practical microphones can easily clip onto clothing for discreet capture of voice dialogue – used frequently in theatre productions to record voices of actors but can be useful in filmmaking as well.
No matter the microphones you choose, it is crucial that the appropriate amount of room tone be recorded at each filming location for post-production audio editing. This allows you to capture the original ambience of each scene during editing for seamless transitions between scenes. For more information on recording room tone see this guide: The Complete Guide To Microphone Room Tone (With Examples). Additionally, consider investing in essential accessories like windshields, shock mounts, boom poles and cables as essential safeguards against noise production or handling damage to protect equipment against unnecessary noise or handling damage during post production audio production.
Location tests
Location tests are an integral component of location scouting. They enable filmmakers to test whether a particular location fits with the film’s narrative and visual style, and during this stage the director and crew visit potential filming spots and evaluate them according to scripted criteria for filming. Although each member of the team will have his or her own focus area, everyone should familiarize themselves with it for consistency and accurate evaluations of locations visited.
Location tests enable scouts to listen for any unwanted noise that could ruin a scene or make post-production more complicated, such as fridge hum or airplane noise that detract from dialogue delivery and reduce overall quality of final product. They also conduct echo tests which may affect clarity of recorded audio files.
Consideration must also be given to water and power outlets as well as parking accessibility for cast and crew. Knowing if any limitations of a location could impact production schedule or budget is crucial; for example if working at an old house requires hiring a carpenter to build temporary bases to protect equipment from rainwater damage may necessitate hiring one as well.
Location scouting involves taking photos and videos of potential locations for the shoot, to help plan its logistics such as where to set up hair, makeup, crafty and wardrobe; additionally it helps them determine if a location can accommodate desired camera angles and lighting requirements; finally the production designer evaluates aesthetics while the director/DP will consider technical needs of the shoot.
Dialogue recording
Filmmaking is not solely visual medium; it also relies heavily on sound elements to bring its narrative alive. These sounds include ambient noises, music and dialogue that sound technicians capture on set using microphones and boom poles to ensure actors’ voices are recorded at optimal levels – dialogue being an essential aspect of film making that requires great skill to capture properly.
So for instance, an audio engineer could use automation to adjust an actor’s level in a scene so it is clearly heard without overpowering other sounds – this ensures consistency and ensures that re-recorded audio blends well with original film footage. A sound editor might use automation to add reverb to ADR tracks in order to mimic acoustic characteristics of original recording spaces; this can be difficult as too much or too little can make dialogue sound distant and unrealistic, while too little reverb can result in unnatural dialogue.
Sound editors can use automation to quickly identify and remove clicks, hums, and other forms of unwanted background noise from ADR recordings. While this process can be time consuming, its importance to producing high-quality final products cannot be overstated; many sound designers recommend RX as an efficient noise reduction plugin that will enable filmmakers to reach their cinematic vision.
ADR (Automated Dialogue Replacement) is an increasingly common practice in filmmaking to address any discrepancies with an audio recording or incorporate changes into a script. ADR typically involves replacing original on-set dialogue recordings with new studio-recorded dialogue that improves overall sound quality while increasing audience engagement.