Okay, last time was a bunch of the prep work for shooting sound, and the post-work for sound you didn't do prep work for on set. This time we will explain why a tin can tied to a string run into the back of your camera is a bad idea. The string won't fit. Since I need to fill more space, I guess I'll expound on the subject.
The microphone should be a nice one. I know it goes without saying for most, but it never hurts to mention. On something recent, we used the in-camera microphone for my camera, then used a stage microphone that went into a 1/8th jack on the other camera. I had my doubts about it, but it was an extra sound recording. My doubts were right.
On the in-camera mic, the sound was picked up from further back, which was a minus. Still, the sound was put right to the tape through something much less limited than a 1/8th jack. If you're trying to visualize that jack, it's the kind you use for standard walkman or iPod headphones. I'm sure some can be really nice, but I don't want to spend time searching for something that beats the odds by working well above its standard. So the in-camera mic didn't go through an under-capable cable and jack.
The camera's microphone is also a directional mic. You can look up the science of it if you're curious, but the word "directional" is the important bit. It means you point the microphone at the source of the sound. It's designed to receive the vibrations in the air from "over there." It pulls in environmental noises, subtle noises, the tone of the room or location, and with little distortion.
A stage microphone is supposed to be talked across, so a singer or speaker can be singled out while the surrounding noises aren't picked up and transmitted through the sound system. Each element on stage that's not hooked directly to the sound system (like an electric guitar to amp to sound board) gets mic'd (like drums, acoustic instruments, the horn section). Each microphone can then have its own level for mixing because it's primarily picking up what it's designated for rather than a directional environment. This design limitation is excellent for these purposes, and great for doing ADR or foley work if needed, but terrible for live on-set sound.
Another issue with stage microphones is the distortion. Go to a karaoke night and watch how different amateurs hold the microphone. Some tilt it up, some don't. Some cup it in their hands, while others hold it low down at the base. It all sounds vastly different though it's coming from the same piece of equipment. If one guy quietly croons with the microphone pinned two inches under his chin, but another belts a tune with the microphone lined up perfectly at arm's length, what comes over the speakers better? All of these variables at the end of a stick dangling over somebody's head do not easily translate into fine audio.
Speaking of dangling sticks, you can buy a professional boom pole, but in a pinch you can make one. A real one, for the record, is the better idea. There are all sorts of places you can look for ideas, but the basics usually involve a wooden pole and tape. Maybe some springs, bungee cords, an old desk lamp, but the idea is the same. Get the microphone as close to the actors as you can.
Make sure the pole is long enough to justify building the thing. I've seen some made out of small brooms that guaranteed the sound person would cast a shadow on the actors. Also, make sure to coil the sound cord around the pole all the way down to the other end, and try and find a way to grip or pin it in place. There's no point in hiding the microphone if the cord's going to drop into the shot anyway.
The main reason the boom is generally seen over the actors is because it would look stupid in the shot. If you're going to cut off the three feet above an actor's face, where there's wall space, a ceiling, etc., or the three feet below, where the rest of their body is, what makes more sense? So we bring down the top of the frame and use that to get the mic closer. It's also less distracting to the actors because it's out of their direct sight line. Like they say, "Most people don't look up."
When handling the boom pole, wear gloves. You'll pad it a little to minimize vibration, in case you have a pulse over 120. You'll also be more comfortable since you won't get that weird sweat contact jitter, so you won't shift the pole as much. Lay a small piece of cloth on your desk. Put one hand flat on it, the other hand bare on the desk. Concentrate on your urge to shift, move, or just wiggle your hand. Do this for several minutes while you watch a video or listed to music. Keep checking and see which one gets twitchier, which feels more uncomfortable.
For connections, this is really a matter of what is receiving the sound. If you have a beautiful shotgun microphone but no XLR cables for it to send the sound anywhere you're screwed. XLR are the ones with the head about the size of a nickel around, and three pins in a triangle. The better the camera, the better the inputs. XLR is the best I've worked with, and pretty much standard on a professional level. 1/8th jack connections I've already said my piece on. Then there's everything in between. Just research want you have and what it requires, shooting for XLR if possible. Also, please do not try to record live dialogue in MIDI. If you don't know what that means, you weren't going to anyway.
For post, that's maybe another column for another day down the road. If you record things right, you should be able to put something together with what you've got. I don't want to compare sound boards with ProTools with Soundtrack since we'll all have our own systems and preferences. I have mine, and in it I'm starting to really play with some cool features. Not enough to speak about them yet, but once I can I will.
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| Make Me Proud |
Every other Monday
Exploring everything you should consider as you make your
indie masterpiece.
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| Patrick Storck |
Patrick hails from Baltimore, MD, where playing by the rules is frowned upon. Only average things come from playing it safe.
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