Learn Location Sound Recording with The Location Sound Bible
The Location Sound Bible: How To Record Professional Dialog For Film And TV
If you are interested in learning how to record professional dialog for film and TV, you need to read this article. In this article, you will learn what location sound is, why it is important, what are the challenges of recording dialog on location, and how to use a location sound bible to guide you through the process. You will also learn how to prepare for a location sound recording session, how to record dialog on location, and how to edit and mix dialog for film and TV. By the end of this article, you will have a solid understanding of the principles and techniques of location sound recording, and you will be able to apply them to your own projects.
The Location Sound Bible How To Record Professional Dialog For Film And TVepub
Introduction
Location sound is the term used to describe the audio recorded on set during a film or TV production. It includes dialog, ambience, sound effects, and any other sounds that are captured by microphones on location. Location sound is different from studio sound, which is recorded in a controlled environment with optimal acoustics.
Location sound is important because it gives realism, authenticity, and emotion to the film or TV show. It helps the audience immerse themselves in the story and connect with the characters. It also helps the filmmakers convey their artistic vision and create a specific mood and atmosphere.
However, recording dialog on location is not easy. It involves many challenges, such as dealing with noisy environments, unpredictable weather conditions, limited time and resources, technical issues, human errors, and creative decisions. It requires a lot of skill, knowledge, experience, patience, and teamwork.
That's why using a location sound bible can be very helpful. A location sound bible is a document that contains all the information and instructions related to the location sound recording process. It covers everything from pre-production to post-production, such as equipment, settings, techniques, tips, tricks, best practices, and common problems and solutions. It serves as a reference and a guide for the location sound team, as well as the director, actors, and crew.
How to prepare for a location sound recording session
Before you start recording dialog on location, you need to do some preparation work. This will help you avoid or minimize potential problems and ensure a smooth and successful recording session. Here are some of the things you need to do:
How to choose the right equipment and accessories
The first thing you need to do is to choose the right equipment and accessories for your location sound recording session. You need to consider the budget, the size and type of the production, the location and environment, the number and style of the actors, and the quality and format of the audio you want to achieve. Here are some of the main equipment and accessories you will need:
Microphones
Microphones are the devices that capture the sound waves and convert them into electrical signals. There are many types of microphones, but for location sound recording, you will mainly use two types: boom mics and lavalier mics.
Boom mics are large, directional microphones that are mounted on a boom pole and held by a boom operator above or below the actors. They are used to record dialog from a distance, without being visible in the frame. They have a narrow pickup pattern that rejects unwanted sounds from the sides and behind. They can also be used to record ambience and sound effects.
Lavalier mics are small, omnidirectional microphones that are clipped or hidden on the actors' clothing or body. They are used to record dialog from close proximity, without being affected by the movement or position of the actors. They have a wide pickup pattern that captures sounds from all directions. They can also be used to record ambience and sound effects.
Depending on the situation, you may also use other types of microphones, such as shotgun mics, cardioid mics, hypercardioid mics, figure-8 mics, stereo mics, or binaural mics. You may also use different microphone techniques, such as XY, MS, ORTF, AB, or Blumlein.
Recorders
Recorders are the devices that store the electrical signals from the microphones as digital files. There are many types of recorders, but for location sound recording, you will mainly use two types: multitrack recorders and portable recorders.
Multitrack recorders are large, professional devices that can record multiple channels of audio simultaneously. They have high-quality preamps, converters, meters, limiters, filters, and other features that ensure optimal sound quality and control. They can also sync with timecode devices and cameras for easy editing and mixing later. They are usually mounted on a sound cart or a table.
Portable recorders are small, handy devices that can record one or two channels of audio at a time. They have built-in microphones, preamps, converters, meters, limiters, filters, and other features that ensure decent sound quality and control. They can also sync with timecode devices and cameras for easy editing and mixing later. They are usually carried in a sound bag or a pocket.
Headphones
Headphones are the devices that allow you to monitor the sound quality and levels of the audio you are recording. There are many types of headphones, but for location sound recording, you will mainly use closed-back headphones.
Closed-back headphones are headphones that have a solid shell that covers the ear cups. They isolate your ears from external noises and prevent sound leakage from your headphones to the microphones. They have a flat frequency response that gives you an accurate representation of the sound you are recording.
Boom poles
Boom poles are long, lightweight poles that hold the boom mic at one end and connect to a cable or a wireless transmitter at the other end. They allow you to position the boom mic above or below the actors without being in the frame. They have a telescopic design that lets you adjust their length according to your needs.
Windshields and shock mounts
Windshields and shock mounts are accessories that protect your microphones from wind noise and handling noise.
Windshields are covers that fit over your microphones and reduce the impact of wind blowing on them. They can be made of foam, fur, or other materials that create a barrier between the microphone diaphragm and the air currents.
from vibrations and shocks. They can be made of rubber, elastic, or other materials that absorb the movements and impacts.
Cables and connectors
Cables and connectors are the wires and plugs that connect your microphones to your recorders or wireless transmitters. They carry the electrical signals from the microphones to the recorders or transmitters. They have different types and sizes, such as XLR, TRS, TS, RCA, or mini-jack.
How to scout the location and assess the acoustics
The next thing you need to do is to scout the location and assess the acoustics. You need to visit the location before the shooting day and check the sound quality and characteristics of the place. You need to consider the following factors:
The size and shape of the location: This affects the reverberation and echo of the sound. Larger and more reflective spaces tend to have more reverb and echo than smaller and more absorbent spaces.
The background noise and ambience of the location: This affects the clarity and intelligibility of the dialog. Noisy and busy locations tend to have more unwanted sounds than quiet and calm locations.
The weather conditions and changes of the location: This affects the stability and consistency of the sound. Windy, rainy, or stormy locations tend to have more unpredictable sounds than sunny, dry, or stable locations.
The power supply and interference of the location: This affects the reliability and quality of your equipment. Locations with poor or unstable power supply or high electromagnetic interference tend to cause more problems for your equipment than locations with good or stable power supply or low electromagnetic interference.
Based on your assessment, you need to decide how to best record dialog on location. You need to choose the most suitable equipment, settings, techniques, and positions for your microphones and recorders. You also need to plan how to reduce or eliminate any potential problems or noises that may affect your sound quality.
How to communicate with the director, actors, and crew
The last thing you need to do is to communicate with the director, actors, and crew. You need to establish a good relationship and a clear understanding with them about your role and responsibilities as a location sound team. You need to consider the following aspects:
The artistic vision and expectations of the director: You need to know what kind of sound style and quality the director wants for their film or TV show. You need to respect their creative decisions and suggestions, but also offer your professional advice and feedback when needed.
The performance and comfort of the actors: You need to know how to work with the actors without disturbing their concentration or expression. You need to respect their privacy and personal space, but also instruct them on how to use or wear the microphones properly.
The cooperation and coordination of the crew: You need to know how to work with the crew without interfering with their tasks or duties. You need to respect their authority and expertise, but also inform them of your needs and requirements for your sound recording.
By communicating effectively with the director, actors, and crew, you will be able to create a positive and productive working environment for your location sound recording session.
How to record dialog on location
Now that you have prepared everything for your location sound recording session, you are ready to start recording dialog on location. This is where you apply your skills, knowledge, experience, patience, and teamwork to capture the best possible sound for your film or TV show. Here are some of the things you need to do:
How to use different microphone techniques
to choose the most appropriate microphone type and technique for each situation, depending on the number and position of the actors, the distance and angle of the microphone, the background noise and ambience, and the desired sound quality and effect. Here are some of the main microphone techniques you will use:
Boom mic technique
Boom mic technique is the most common and versatile microphone technique for dialog recording. It involves using a boom mic mounted on a boom pole and held by a boom operator above or below the actors. It allows you to record dialog from a distance, without being visible in the frame. It also allows you to follow the movement and direction of the actors, without affecting their performance or comfort.
To use the boom mic technique effectively, you need to follow these steps:
Position the boom mic as close as possible to the actors, without being in the frame or casting a shadow. The ideal distance is about 30 to 60 cm (12 to 24 inches) from the actors' mouths.
Angle the boom mic slightly downwards or upwards towards the actors' mouths, depending on whether you are holding it above or below them. The ideal angle is about 45 degrees from the horizontal plane.
Aim the boom mic at the actor who is speaking or about to speak, and switch between them if there are multiple actors in the scene. The ideal position is slightly in front of the actors' mouths, so that you can anticipate their speech and movement.
Move the boom mic smoothly and steadily along with the actors, without making any sudden or jerky movements. The ideal speed is slightly faster than the actors' speed, so that you can keep them in your pickup pattern.
Monitor the sound quality and levels of your boom mic through your headphones, and adjust them accordingly if needed. The ideal level is between -12 dB and -6 dB on your recorder's meter.
Lavalier mic technique
Lavalier mic technique is another common and useful microphone technique for dialog recording. It involves using a lavalier mic clipped or hidden on the actors' clothing or body. It allows you to record dialog from close proximity, without being affected by the movement or position of the actors. It also allows you to record dialog from multiple actors at once, without having to switch between them.
To use the lavalier mic technique effectively, you need to follow these steps:
Choose a suitable spot to place your lavalier mic on the actors' clothing or body. The ideal spot is near their chest or collarbone, where it can pick up their voice clearly and evenly.
Secure your lavalier mic with a clip, a pin, a tape, or a special mount on your chosen spot. Make sure it is not too tight or too loose, and that it does not rub against any fabric or skin.
Conceal your lavalier mic with some clothing, hair, makeup, or accessories if needed. Make sure it is not too visible or too covered, and that it does not create any unwanted noises or shadows.
Connect your lavalier mic to a wireless transmitter or a cable that runs to your recorder. Make sure it is not too long or too short, and that it does not interfere with any other equipment or people.
Monitor the sound quality and levels of your lavalier mic through your headphones, and adjust them accordingly if needed. The ideal level is between -12 dB and -6 dB on your recorder's meter.
Plant mic technique
the scene. It allows you to record dialog from a fixed position, without being seen or heard by the actors or the camera. It also allows you to record dialog from a specific perspective or angle, such as inside a car, under a table, or behind a wall.
To use the plant mic technique effectively, you need to follow these steps:
Choose a suitable spot to place your plant mic in the scene. The ideal spot is close to the actors' mouths, where it can pick up their voice clearly and naturally.
Secure your plant mic with some tape, glue, or a special mount on your chosen spot. Make sure it is not too obvious or too hidden, and that it does not interfere with any other equipment or people.
Conceal your plant mic with some props, scenery, or decorations if needed. Make sure it is not too visible or too covered, and that it does not create any unwanted noises or shadows.
Connect your plant mic to a wireless transmitter or a cable that runs to your recorder. Make sure it is not too long or too short, and that it does not interfere with any other equipment or people.
Monitor the sound quality and levels of your plant mic through your headphones, and adjust them accordingly if needed. The ideal level is between -12 dB and -6 dB on your recorder's meter.
How to deal with common problems and noises
The second thing you need to do is to deal with common problems and noises that may affect your dialog recording. You need to identify and solve any issues that may compromise the quality and clarity of your sound. You also need to reduce or eliminate any unwanted sounds that may distract or annoy the audience. Here are some of the common problems and noises you will encounter:
Background noise and ambience
Background noise and ambience are the sounds that come from the environment and the surroundings of the location. They can be natural or artificial, such as traffic, birds, planes, machines, music, people, etc. They can be constant or intermittent, loud or quiet, relevant or irrelevant.
To deal with background noise and ambience effectively, you need to follow these tips:
Choose a location that has a low level of background noise and ambience, or at least one that matches the mood and theme of your film or TV show.
Use directional microphones that reject unwanted sounds from the sides and behind, such as boom mics or shotgun mics.
Use windshields and shock mounts that protect your microphones from wind noise and handling noise.
Use headphones that isolate your ears from external noises and allow you to monitor the sound quality and levels of your recording.
Use filters and limiters that cut off or reduce low-frequency noises and high-frequency noises.
Use noise reduction and restoration tools in post-production that remove or reduce unwanted noises from your dialog tracks.
Wind noise and handling noise
ive tools in post-production that remove or reduce pops and clicks from your dialog tracks.
Reverberation and echo
Reverberation and echo are the sounds that come from the reflection of sound waves on the surfaces of the location. They can be caused by the size and shape of the location, the materials and textures of the walls, floors, ceilings, and furniture, and the distance and angle of the microphones and the actors. They can create a sense of space and depth, but also a loss of clarity and intelligibility.
To deal with reverberation and echo effectively, you need to follow these tips:
Choose a location that has a low level of reverberation and echo, or at least one that matches the mood and theme of your film or TV show.
Use directional microphones that reject unwanted sounds from the sides and behind, such as boom mics or shotgun mics.
Use windshields and shock mounts that protect your microphones from wind noise and handling noise.
Use headphones that isolate your ears from external noises and allow you to monitor the sound quality and levels of your recording.
Use filters and limiters that cut off or reduce low-frequency noises and high-frequency noises.
Use de-reverb and de-click tools in post-production that remove or reduce reverberation and echo from your dialog tracks.
Distortion and clipping
Distortion and clipping are the sounds that come from the overload or saturation of the electrical signals in your equipment. They can be caused by setting the input or output levels too high on your microphones, recorders, or headphones; by using poor-quality or damaged equipment; or by exposing your equipment to extreme temperatures or humidity. They can create a harsh and unpleasant sound that can damage your equipment or your ears.
To deal with distortion and clipping effectively, you need to follow these tips:
Use high-quality and well-maintained equipment that can handle high levels of sound without distortion or clipping.
Set the input and output levels on your microphones, recorders, and headphones to a moderate level that gives you enough headroom without distortion or clipping. The ideal level is between -12 dB and -6 dB on your recorder's meter.
Use headphones that isolate your ears from external noises and allow you to monitor the sound quality and levels of your recording.
Use limiters and compressors that prevent or reduce distortion or clipping by lowering the peaks of the sound signals.
Use noise reduction and restoration tools in post-production that remove or reduce distortion or clipping from your dialog tracks.
Phase and polarity issues
and hollow sound that can ruin your sound quality.
To deal with phase