Microphones And Sound Gear For Recording Sound On Film – Research Done By Everline Moragwa Achira

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The dubbing King Software presents. Microphones and sound gear for recording, sound on film. A comprehensive guide. Methods of recording sound on film s so f what is sound on film, sound on film is a class of sound film processes where the sound accompanying a picture is recorded onto photographic film usually, but not always the same strip of film carrying the picture. What are the methods of recording sound on film? When it comes to film and video sound, the first thing you need to determine is whether to use a single or double audio recording system. What is a single recording system? A single system recording is where audio is captured directly into the camera and records simultaneously with the image for a double or dual system. Sound is captured independently of the camera and onto a digital audio recorder. What is a double recording system?

A double system recording is a form of sound recording used in motion picture production, whereby the sound for a scene is recorded on a machine that is separate from the camera or picture recording apparatus.

This procedure requires that both camera and sound recorder share a very accurate time reference and that the speed of the camera and sound recorders be carefully governed. What is the main difference between single and double system in a single system? Audio is captured directly into the camera and records simultaneously with the image for a double or dual system. The sound is captured independently of the camera and onto a digital audio recorder. For a double order, dual system audio is sync up with video during post-production. What are the benefits of single system recording over double system recording? The benefit of a single system over the double system is that it does not require audio to be sinked up in post-production. This is advantageous in news and documentary formats that often require a quick turnaround of material. What are the benefits of double system recording over single system recording? Most motion picture camera supports this option as opposed to single system recording. So all production sound is recorded on a separate recorder. The double system is ideal if your camera lacks higher grade audio inputs. The double system delivers stronger audio quality through a higher sampling rate, the higher the sample rate. The more accurate the digital representation. For example, 11 kilohertz would be low quality sound and 48 kilohertz would be the standard for digital sound recording.

Double systems also deliver greater bit depth, bit depth refers to how many different values of amplitude each sound sample possesses, the higher the bit depth. The more accurate a system can record and reproduce the subtle fluctuations in a wave form. For example, 16 bit audio, which is standard for a digital audio recorder, can capture sixty five thousand five hundred and thirty six different values of sound. This contributes to the richness and complexity of the sound recording. Audio does not have to be tethered to the camera. Different types of microphones for recording sound on film. What are the different types of microphones when picking out a microphone? The first thing to decide is what type of microphone you need. If you're a vocalist who records in studios a condenser, mike is a smart choice. However, for anyone who performs live, a dynamic mike should be your go to microphone. Time to break down the various microphone types and when to use them. One shotgun microphones. What's great about this Zeppelin shaped devices that it can pick up audio without capturing access, environmental noise. Often the shotgun microphone is mounted to a boom pole where it can be held above or below an actor to capture dialogue. Also, windshield accessories such as a blimp or the cuddly sounding dead cat fits snugly over the microphone and reduce distortion to dynamic microphones.

Dynamic microphones are what you picture when you typically think of a microphone. The same that most performers hold when singing. Although a dynamic my CLECs, the directional capacity as a shotgun microphone, it is excellent for recording in loud spaces. These mikes don't require external power and lack an internal amplifier because of this, they tend to be used during broadcasts or performances. Dynamic, Mike saw the workhorses of the microphone world. They're cheap, durable and sound fantastic on some of the most common sources in the recording. Using a moveable induction coil suspended in the field of a magnet. Dynamic mikes work like a speaker in reverse. Dynamic mikes are responsive to transients and handle high s pull very well. This makes them a natural choice for loud sources like drum kit, close mikes and guitar and bass cabs. Given how affordable and versatile they are, there should definitely be a dynamic my call to in your collection. And if you only have room for one, there's really only a single serious contender. The Shaw s.M 57, the versatile s.M 57 is one of the most accessible tools in recording. Of course, there's a range of great dynamic designs that work for tons of studio situations, including electro voice Saari 20, Sennheiser M.D.

421 Shaw s.M seven B. While all of these mikes are great options, none have the grand slam price to performance ratio of the s.M 57. It's the go to choice of many engineers for guitar, cabs and snare drums. No home studio should be without one. Three large diaphragm condenser microphones. Large diaphragm condenser microphones are probably the first thing that comes to mind when you think of studio recording mikes. They're the large, stylish and serious looking mikes that you see in most professional recording studio situations. Condenser mikes work by using a capacitor or condenser to convert acoustic vibrations into an electrical current. That means they need a power source like 48 Volts Phantom Power to operate. It also means that they're much more sensitive than dynamic. Mike saw ribbon mikes and output allowed a signal. Their sensitivity makes them ideal for quiet or extremely dynamic sources like vocals. Large diaphragm condensers exhibit a number of sonically pleasing qualities for voices. They help create that larger than life sound that we associate with pro studio vocals. But healthy seas are effective on all kinds of sources. If you're looking for one, Mike, that can handle every task. Consider a large diaphragm condenser.

Many modern L.D. sees offer selectable polar patterns, making them incredibly versatile and useful in tons of different recording situations.

And one of the best mikes for building your studio around four small diaphragm condenser microphones. Small diaphragm condensers, sometimes called pencil condensers. Other, smaller, less flashy cousin of the LGC. But they're just as useful. Despite their small stature, small diaphragm condensers have a great transient response, extended top end and consistent pickup patterns. This makes them great for realistic stereo techniques as well as acoustic instruments. If you sat in on classical music recording session, chances are you would see mostly SD CS. They often come in pairs for stereo recording. So they're particularly effective for creating accurate stereo images of real acoustic spaces. Five ribbon microphones. Ribbon technology dates back to the earliest days of microphones. Photos from the golden age of broadcasting are filled with presenters speaking into classic ribbon mikes. Ribbon microphones use an ultra thin. Wait for it ribbon of electro conductive material suspended between the poles of a magnet to generate their signal. Early ribbon designs were incredibly fragile. Moving them improperly or even subjecting them to higher spel could cause the ribbon to break. But their sound was worth the trade off in durability ribbon Mike SA prized for their warm vintage town. They're perfect for when you need to tame excessive or harsh high end sources like guitar amps, drum over heads or brass. Ribbon microphones naturally produce a perfect figure, eight polar pattern and respond to each you extremely well. Hot tip. Even though today's ribbon mike sound quite as fragile as the early designs, they're still easier to damage than dynamic saw.

Condensers be careful while handling them. The most important rule of ribbon's is never, ever supply 48 volts phantom power to ribbon mikes. You risk electrocuting the ribbon itself. Six lavalier microphones. The lavalier microphone or love, is an omnidirectional microphone that clips onto the costume of an actor. These tend to be used if an actor is moving around often, however, the placement of the mike is key because the lavalier microphone lacks the frequency balance of other devices. It can add an unwanted nasal quality to the dialogue. Also, the lavalier microphone operates through a wireless system. This, of course, offers a greater degree of movement, but it's through battery life rather quickly. There's also the risk of radio interference ruining a take. When the option is available, the security of a wired connection is always preferred in sound recording. What our microphone poller patterns. The polar pattern of a microphone is the sensitivity to sound relative to the direction or angle from which the sound arrives or easier worded how well the microphone hears sound from different directions. What are the different types of microphone polar patterns? Omnidirectional, these microphones have equal sensitivity at all angles and only directional Mike can be placed at the center of the room, faced in any direction, and would be able to pick up sound coming from anywhere in the entire room. BI directional, more commonly referred to as figure eight polar patterns, pick up sound at equal levels from the front and rear of a microphone, but do their best to ignore the sound from the sides.

Carli Lloyd, these mikes have the most sensitivity at the front. However, this sensitivity begins to take her off around the sides, reaching a null point with no sensitivity in Laria. These microphones are best used when monitor speakers are being used, since it will help reduce feedback risk. Super Khady oId similar to Khady oId microphones. This microphone poller pattern offers great sensitivity in the front with a bit more focused pattern, making the microphone more directional and less likely to pick up unwanted sounds in loud environments. This pattern, however, does have some rear sensitivity. Microphone pole, a pattern, graphical illustrations. What are the unwanted noise types during recording of sound on film? One control level noise. Controllable noise is interference that can be managed. The biggest defenders of this type of noise are refrigerators, mobile phones and personal electronics. Make sure all phones and appliances are switched off. But especially when it comes to refrigerators. Remember to power them back on after production for some very obvious reasons. Two audio cables. Audio cables come in two varieties balanced and unbalanced. A balanced audio cable is the simplest, most cost effective of cables. These devices possess either a mini jack phone, no tip sleeve or an RCA connector. Most carry a mono audio signal. But there are stereo varieties. An unbalanced audio cable is comprised of two wires, one wire is a shielding mesh wire known as the ground, which is the zero point for the signal.

The other is known as the hot, which is the signal itself. This cable is more susceptible to noise interference and is typically used to cover shorter distances. For longer distances, the balanced audio cable is the ideal solution, using either an Excel R connection or a tipping sleeve. TR s. These cables possess three wires instead of two. As with the unbalanced cable, there exists a shielding mesh, ground wire and a hot wire. But instead of sending audio down a single wire, it is now being transferred down to wires. Along with the hot wire, there is now a cold wire when an audio signal reaches the end of one wire. It reverses itself and travels down the other. This process cancels out any external noise or interference that might affect the sound recording. Because of this, the balanced audio cable can take a lot of strain on set without sacrificing audio quality. As with all of this sound recording equipment, it's about determining what is going to benefit your movie the most. Well, the same holds true for sound capture in preparing for a production. The sound team should gather and test their gear. This process includes testing batteries and making sure hard drives or tapes contain enough storage space. Also, it's important to make sure that there's no controllable ambient sound that could cause interference.

The sound team might also record what is known as a bass track. A bus track is a track of silence captured on a location that can be used in editing later to cover up any unwanted noise. What are some tips and techniques for recording sound on film? One tip. Swen recording. Sound duty's on set. Okay, with the preparations taken care of, it's time for the shoot at the start of each take, the first take will say roll sound. The sound technician will then press the record button on their digital audio recorder. Moments later, the sound technician will call back with speed or rolling sound. The A.D. will then repeat this process with the camera and the take will proceed until the director yells cut. This process will repeat throughout the shoot after each take the sound team will complete a sound report sheet. The document tells the editor what is recorded on each tape, track or hard drive to uncontrollable noise. As the name suggests, uncontrollable noise originates from forces outside of one's control. This might be a passing car or airplane or music emanating from a nearby building. This is where professional headphones come into play. If you pick up some of this unwanted interference, make sure to announce it on set. Wait until the sound ceases or if it doesn't seem to be wrapping any time soon. Move to another location. A big part of good sound design and sound recording will come by way of your experienced sound.

Operator one set. What additional sound gear are important in recording sound on film? One preamps. Help your sound. As you can imagine, avoiding noise interference is vastly important in sound recording. This is where a pre amplifier or preamp comes in handy. A preamp is an electronic amplifier that boosts a weak electrical signal into a stronger one. This inevitably makes the signal noise tolerant and ready for processing into a sound mixer. A microphone, for example, produces a weak electrical signal without the assistance of a preamp. The final signal emanating from the device would be noisy and distorted. Now, most preamps have a switch where a user can toggle between line and microphone signal options. These are the sources of where the audio is coming from, a line signal typically comes from the console live a sound mixer or playback device. The audio here tends to be strong and doesn't require significant tempo bifurcation. As mentioned, microphones are far weaker and do require this boost. An important thing to remember, though, is that when you boost an audio signal using a preamp, you boost the noise of the preamp itself. This is another strike against the single system. Mass in camera preamps tend to be noisier than their dual system counterparts. Yes, amplification is important when recording sound. But when using a preamp, you need to be aware of your audio levels and avoid clipping. Clipping occurs when an amplifier is overdriven and forced to deliver an audio output that is beyond its capacity.

Basically, the clipping point is the maximum level of loudness. Keep at least an 18 decibel decibel difference between ambient noise and your desired signal following this simple rule will ensure you achieve a strong clean signal when using a preamp to tipps while conducting rehearsals. As expected, communication is key on a film set. And nowhere is it more important than in connection with the sound recording process. During onsets rehearsals, the sound team will discuss and determine the appropriate recording levels, as well as microphone and actor placement. For example, if the dialogue is too quiet, the background noise will overpower it once the audio is compressed. The point, of course, is to create an environment where sound capture will be clean and without drop off. Three tips when you encounter a problem. With sound capture being a vital component to the moviemaking process, it's imperative that the sound team makes the rest of the production aware of any issues that may arise during recording. You will be able to hear things they cannot. So don't assume they're aware of every issue, fair or not, they will hold you responsible later. This includes ambient noise interference or quiet dialogue. You may think, well, what's the big deal? We can just fix it in post-production any ways. Yes, perhaps. But it's always a better idea to get the desired sound recording on set rather than waiting weeks or months to rerecord it.

Remember, if sound design is your business, you should have no problem voicing your concern and adding production value for zero dollars. If you're a film maker on set and your sound team brings up an issue that you then decide to ignore. You can lead a horse to water, but you can't make it drink for good distances to capture audio. Not surprisingly, microphone distance can make or break a sound recording and may lead to you being rehired or passed up. Whether you're using a shotgun or a dynamic microphone, make sure the device is no further than three feet, one meter away from the subject. Remember, closer is always better when building a strong sound design. Yes, this may seem like a simple, obvious tip, but following this rule will dramatically strengthen your audio quality. Five tips to combat reverb and bouncy sounds. Shooting locations can be unpredictable, especially when it comes to sound recording. One of the most common and unfortunate side effects of an indoor location is bouncy sound. To combat this sound, teams have developed a number of practical solutions, adding soft tech style items such as rugs, curtains or acoustic paneling to walls helps to deplete echoes. Every member of the sound team from the sound mixer to the recorder needs to possess a professional pair of headphones when setting up a location. Listen carefully to the space, then make a careful determination of whether additional items are required to reduce echo.

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