Lights, Camera...

Audio
1504art Digital Video Foundations
Types of Microphones
Omni-Directional

Omni directional mics

pick up sound in a
spherical pattern,
equally in all directions.
Because of this they are not particularly useful in digital
film production.

They are suited to picking up general sound, the

ambience, of a location.

When held close to the mouth, they can also be used

for voice in a reporting or interview situation.
Cardioid
Cardioid mics are often
called uni-directional
mics because they pick
up sound in a heart
shaped pattern.
That is they pick up
sources in front of the
microphone, excluding
sources behind.
Super Cardioid

The super cardioid, or

“shotgun”, mic is
primarily used in digital
film production
because of its much
narrower heart shaped
pattern.
These microphones are used because they exclude the
majority of ambient sound while picking up sound (eg
dialogue) from some distance directly in front.

They are the microphone of choice for the majority of

film/video production and are the type of microphone
used on a boompole.
Lavaliere (Lav)

Lav mics are small clip

on mics that are
frequently used for
interviews, and a wide
variety of digital film
applications.
Microphone Heirarchy
There are four basic ways to approach miking a
subject: boom; plant; lavaliere; or radio mic.
Boom

In most instances, the

best dialogue will be
achieved by employing
a fishpole or boom
overhead of the
subject.
Talent can move around, walk, sit, etc.—with the mic
following overhead. Multiple performers can interact
with each other, both verbally and physically, without
affecting the quality of the recording.

In a pinch, the fishpole can be held at knee level with

the mic pointing up.

Be aware though that holding the boom at different

levels will reproduce different sound qualities. Why?
Plant Mics

Fixed microphones,
also known as plant
mics, can be
strategically deployed
around the set to cover
isolated characters that
would be impractical to
reach with the boom.
Plant mics can consist of either regular condensers or
suitable lavalieres.

The new mini-lavalieres, with their great sensitivity and

transparency, make excellent plants. They are so tiny
that they can be hidden right in the middle of the scene
and not show up on camera.

Plants can be hidden in doorways, on executive pen

sets, on the edge of dressing mirrors, bed headboards,
automobile sun visors, even in floral arrangements!
Lavalieres

Lavalieres are the next

option. Worn on the
body, they tend to go
(or stay) where the
actor is.
Wireless Lavs

The same benefits as

normal lavs, however
they transmit a signal
via radio frequency -
bonus - no wires!
Elements of the Soundtrack
There are four elements of any soundtrack.

Particular attention needs to be paid to each element

to ensure an even and well-balanced soundtrack.

The elements are; Narration, Music, Sound Effects &

Dialogue.
#1 Narration

Many films rely heavily

on narration to hold the
visuals together or to
provide explanation.
All of us, I’m sure, are familiar with documentaries,
travelogues, and educational films that employ
Narration as the primary element of the soundtrack.

Don’t forget, however, that many theatrical films also

use Narration as a story device.

Sometimes in the role of an ‘anonymous’ storyteller

(also known as the ‘voice of god’), sometimes as the
inner thoughts of a principal character.
How is it created?

Narration can be recorded in two different ways.

The first way, or style, is to have the narrator view the
film and record live commentary while it is projected.
The lines may be from a script or totally improvised,
depending on the film in question. This style is referred
to as "sync to picture".
The other approach, which is usually the preferred way
of doing it, involves recording the narration "wild" from
a script, instead of from watching the picture.

The talent reads the lines from a prepared script, which

are recorded as isolated takes. (Note, while it is true
that some narrators may view the film in preparation of
the recording session, the picture does not play a role
during the session itself.)

An editor then cuts the desired lines in place opposite

the appropriate footage.
This method gives the filmmaker maximum creative
control over the relationship between picture and
narration, and allows greater flexibility should editorial
changes be desired later on.

It also frees the narrator to concentrate on enunciation

and delivery of the lines, rather than worrying about
matching whatever is up on screen that moment.
#2 Music

Even the earliest ‘silent’

films depended heavily
on music to add
emotion to moving
images.
The presence of a musical score tells the audience
what feelings they are supposed to have: joy, sorrow,
tension, exhilaration, impending fear, etc.

In fact, many pre-recorded musical scores in music

libraries are titled and catalogued by their suggested
emotional effect.
If this explanation of music’s role is new for you, then
experiment a little.

As an exercise I have taken a scene from the movie

Halloween V - The first run through retains the original
score, the second time it features alternate music.

Notice how the different music selection appears the

change the feeling of the scene!
Halloween V
Original & Alternate Music
As you can see, the presence of music always has
some effect on what the audience will perceive about a
scene.

Depending on the musical selection, this effect may

reinforce, contradict, or completely alter the original
intent of the picture.
The dramatic source of music under a scene can be
either "extraneous" or "practical".

Extraneous means that the score is simply there on the

soundtrack because the filmmaker put it there to
accompany the picture.

The people in the movie theatre hear it, but the

characters in the film do not.

Most music in soundtracks falls under this category.

In contrast to this, some music is initially explained or
motivated by some source on screen, such as a radio
playing, a nightclub band, or a character musician.

In these instances, the music that the audience hears is

also being heard by the characters on screen!

Sometimes, music can creatively overlap both of these

categories, by starting off as extraneous and then
being revealed as practical, or vice versa.
How is it created?

Music for a soundtrack can originate one of two ways:

canned or original score.
"Canned" music refers to having come from a
prerecorded music library. For a fee, a producer can
purchase the rights to use selections of existing music
in his or her production.
A large number of companies produce volumes of high
quality, generic purpose music tracks intended
exclusively for this purpose.

The music is composed and recorded so as to facilitate

"modular" editing to accommodate scene length or
climax.

The following is an example of modular ‘genre’ based

music - Drama (20sec - also available as 10, 30, 60sec
and full track).
Stock Music
Drama - 20 seconds
How is it paid for?

Producers can pay for the music on a "needle drop",

screen minute, or “blanket” basis.
Needle drop refers to buying music based on a per
selection, per use, basis.
Blanket arrangements permit unlimited usage of the
entire library either per entire production or per entire
year.
In determining their fees, music libraries will also want
to know the intended purpose and scope of distribution
of the film (theatrical, educational, home video,
nationwide broadcast, industrial in-house, etc.).

If you feel it is absolutely imperative to use a "real" song

instead of one from a music library, make certain to
obtain permission—in writing, in advance—from the
recording company in question!
The other source of music is to have it originally
composed and recorded for your project.

This could involve a full scale orchestra, or be as simple

as a single musician overdubbing himself.

The process begins with supplying the composer with

a DVD copy of the footage along with instructions from
the director or editor.
As to which form of music is better, it all depends on
the situation, budget, and talent pool available.

A good canned library will sound better than the results

obtained from most "aspiring" young composer/
musicians and from many "hack" orchestral
composers.

On the other hand, there are many talented composers

whose quality and brilliance far surpass the generic
accompaniment of even the best music libraries.
#3 Sound Effects

The third of our

soundtrack elements,
in addition to narration
and music, is the
category of "Sound
Effects".
Sound Effects (commonly abbreviated as "FX") refer to
the sounds—other than dialogue—that objects or
people make, along with those sounds that occur
naturally in the background.

All of these sounds are defined as "natural"

necessarily only within the creative context of the movie
and the filmmaker’s imagination.

What they may or may not sound like in real life is not
always in question.
Sound effects can refer to events happening on or off
screen.

Footsteps of an actor may be an on screen event if we

see the actor.

Footsteps of the killer, coming down the hallway,

outside of the closed door are an off screen event if all
the audience sees is a shot of the closed door (from
inside of the heroine’s room).
Similarly, background ambience often refers to off
screen activity that the audience may never see, such
as a passing siren, birds & crickets, a thunderstorm,
and so on.
Sound effects may be either “frame-accurate” or
“wild”. If the effect is dependent on synchronizing
exactly, frame-to-frame, with an on screen event -- it is
known as a frame-accurate effect or more commonly, a
"hard" effect.

Examples include matching the sound of a gunshot

with the firing of a gun, matching up door slams, whip
cracks, sword clashes, punches, silverware being put
on a plate, and so on.
If the sound of the effect only needs to be placed in the
vicinity of an on screen event, but specific frame-to-
frame synchronization is not important, then it is
referred to as a wild or "soft" effect.

Examples include environmental backgrounds (birds &

crickets, rain, wind, ocean surf, traffic), engine noise,
cafeteria ambience, crowd noises, applause, laughter,
even music and narration.
Where do they come from?

The sound effects themselves can originate from a

number of different sources. Many effects are lifted
from special sound effects libraries that operate
similarly to music libraries.
Most sound editors and studios maintain and compile
their own elaborate libraries of sound effects, built up
over the years from all of the films they have worked on
as well as by swapping with fellow editors.
Library effects include both "hard" effects as well as
"wild" or "soft" backgrounds.

Sound effects don’t always come from a library. Quite

often, they are recorded right on the set during actual
production.

Effects may be recorded in "sync" with picture during a

take. This might include footsteps, door slams,
explosions, car crashes, virtually anything that takes
place in front of the camera.
Imagine yourself as an editor trying to match the sound
of an arthritic woman slamming the car door of a ‘88
Commodore... from an effects library.

There might be a dozen or so car door slams, but

probably none with the right speed, intensity, delivery—
not to mention car model.
In some situations, exact matching of details may be
very critical, such as in a sales film or commercial,
where it is illegal to substitute the sound of another car
for the one being featured.

Some effects don’t readily lend themselves to live

recording.

Ever try to get the footsteps of a giant dinosaur?

Editors and sound mixers will often conspire to create a
sound effect that doesn’t exist in real life (or does exist
but doesn’t lend itself to be easily recorded).
Effects may be completely synthesized on electronic
instruments, or may be based on taking real sounds
and electronically modifying them.

Finally, many sound effects are ‘dubbed’ in, by means

of a process known as "Foley".

Briefly, the Foley process consists of recording the

sounds of an artist while he mimics the actions of an
actor on the screen.
A short section of the film is projected over and over
again for the Foley artist (also known as the "Foley
walker").

The artist watches every movement of the actor very

carefully, and mimics both the action and rhythm.

The artist performs those same actions using a variety

of props, and these actions are recorded in sync with
the picture.
For instance, the Foley walker may imitate the actor
taking out a gun from a holster, or sitting down in a
squeaky chair, or shuffling some papers in his hand.

In addition to mimicking simple actions, the Foley artist

will also dub fight punches, hugs, kisses, swordplay,
head scratching, and anything else that emotes sound
—no matter how subtle.
Then there are the footsteps, which are what Foley
people are best known for.

Every actor walks. Sometimes we see his feet moving,

other times we only sense the movement because the
camera is in close.

The Foley artist will recreate all of the footsteps of each

actor, regardless of whether or not the steps are seen
or implied.
To assist in making the Foley footsteps match the
environment on screen, the inside of the Foley
recording stage is equipped with a multitude of small
troughs known as Foley pits.

Each Foley pit is a small rectangular area filled or

covered with a different texture, such as concrete, dirt,
linoleum, carpet, hardwood flooring, marble, grass,
brush & twigs, sand, cobblestone, steel plate, and so
on.
In addition, there is a small wading pool of water for
creating aquatic sound effects.

The Foley walker also has access to a wide array of

footwear, ranging from men’s combat boots to
women’s high heels (irregardless of whether the Foley
artist is male or female!) in order to accurately recreate
all of the footsteps as well as mere body shuffles.

The following are some examples from my own Sound

Effects Library.
Sound Effects: Beast Growls
Sound Effects: Clothes
Sound Effects: Rope Creaks
Sound Effects: Traffic
Sound Effects: Wind
#4 Dialogue

The fourth and final

major element of the
soundtrack is dialogue,
or speech.
Audiences want to
hear what the actors
are saying!
Dialogue in a film takes on, ultimately, one of two forms.
Either the words are spoken by an actor on screen,
with the lips visible to the audience; or, the words are
spoken by an actor off screen, or by an actor on screen
whose face is not visible.

Dialogue from an actor whose face we see is termed

"lipsync", because the words must match the
movement of the lips.

All other dialogue is considered "wild", since it does

not have to sync with any on screen source.
The recording of dialogue usually occurs on the set
during filming, and this is referred to as "production
dialogue".

Sometimes, while actors are on the set, but without

cameras rolling—the company will record additional
lines of dialogue to be used later as "wild lines".
Examples of wild lines that would be recorded on the
set for future use include other halves of phone
conversations, shouts or greetings from afar,
background ambience, alternate dialogue (to cover
profanity in event of television broadcast), narration, or
any dialogue that talent tends to stumble over.

Next we are going to look at a small excerpt from

“Fearless”, try to listen out for all the elements, and how
complex a soundtrack can be.
Fearless