'10 Golden Rules'

Below is a copy of what I consider to be 10 rules that need to be remembered when being a sound recordist on shoot and/or using a mixer:

1. Check that all of the equipment works before beginning the shoot - This saves time and avoids any problems arising.
2. Bring a torch - It is often found that you will be operating the mixer on a table out of the way of the studio lighting if not in natural daylight.
3. Ensure that you announce what is being recorded before doing so - It helps describe the scene and saves time when editing!
4. If recording two separate actors with two separate microphones, male sire that each mic is on a separate channel so that their recordings don't interfere with one another - It also helps to edit them individually.
5. Every location should have its own atmos track recorded from the appropriate perspective.
6. Ensure that the Marantz is set to Mic/Line.
7. Gain all of the 'wildtracks' that are needed where feasible.
8. Ideally, all atmos tracks should be recorded in stereo.
9. When using a boomed mic, it should be as close to the source as you can get it - face down as opposed to up, as this prevents unwanted sound.
10. Wait before saying 'speed'. Take this time to check that the crew is silent and that the recording sounds as you want it to.

Workshop: 14th February 2013

In the workshop on Thursday 14th February, we worked with the cinematography group in order to record the sound for a practice piece of filming. We did this using a 'Wendt Portable Location Mixer', along with a rifle mic and boom pole. Below are some basic steps to remember when using the mixer:

1. Turn the power to INT (If the VU meter reads less than 9 when pressing 'Batt Test', it will need recharging soon).
2. Select Mic channel for Microphone, if not, select Line.
3. Select 48P if the Mic needs power, Select Den if not.
4. By turning the limiter 'on' you will prevent the sound distorting if the signal gets too loud.
5. Output: Needs to match input of recorder - (For Marantz, select mic if recording via XLR cable).
6. When setting the levels, the sound should be between -9 and -3 when the knob is between 10 and 3 o'clock.
7. The 0 20 100 switch will diminish the sound by 10db if turned onto 10.
8.  For recording voice, set to 100.
9. For other, full recordings, set to 0.
10. Ensure the headphone switch is turned up and that the headphones are plugged in.

Microphone Polar Patterns

Cardioid:

  A cardioid microphone has more sensitivity at the front than the back. Therefore, unwanted ambient sound is not taken in and it is a lot more resistant in comparison to omnidirectional microphones.

Supercardioid:

  In comparison to a cardioid microphone, this gives more rejection to ambient sound and provides a narrower pickup. They have some "Pickup directly at the rear"1. and are "the most resistant to feedback".1.

Omnidirectional

  An omnidirectional microphone picks ups sound from all angles/directions. It therefore doesn't have to be  aimed in a particular direction. However, because of this, feedback may be caused by sources, for example, PA speakers.

Bidirectional (Figure of Eight)

  This picks up the sound from a 90 degree angle - therefore only from the front and back, missing out the sides. They are typically Ribbon or Large Diaphragm microphones.

1.

Source:

1. http://www.shure.co.uk/support_download/educational_content/microphones-basics/microphone_polar_patterns

Microphones

Dynamic Mic

1.

• Dynamic microphones can handle very high sound pressure levels. 
• Humidity and extreme temperatures do not affect them.
• Often used for on-stage activities

Condenser Microphone

2.

• Based on electrically-charged assembly of the backplate and diaphragm
• "When the diaphragm is set in motion through sound, the space between the diaphragm and the backplate is changing, and therefore the capacity of the capacitor. This variation in spacing produces the electrical signal. All condenser microphones need to be powered: either by batteries in the microphone or by phantom power (cf. Glossary p. 61) provided by a mixer. Condensers are more sensitive and can provide a smoother, more natural sound, particularly at higher frequencies."3. 

Ribbon Microphone

4.

• Uses a thin ribbon that conducts electricity that is placed between the poles of a magnet.
• Bidirectional.
• Pic up sounds from a 90 degree angle.

References:

1. http://www.google.com/search?q=dynamic+mic&hl=en&client=safari&rls=en&tbm=isch&tbo=u&source=univ&sa=X&ei=Y3grUavVMvOb1AWWzoGQCw&ved=0CEUQsAQ&biw=1285&bih=666#imgrc=QW0jp-u--m1yGM%3A%3BKcIceLQbvZs9OM%3Bhttps%253A%252F%252Fmicrophones.audiolinks.com%252FMicrophones%252Fmicdiagram2922.jpg%3Bhttps%253A%252F%252Fmicrophones.audiolinks.com%252Fmicrophones.shtml%3B350%3B262

2. http://www.google.com/search?client=safari&rls=en&q=condenser+microphone&oe=UTF-8&um=1&ie=UTF-8&hl=en&tbm=isch&source=og&sa=N&tab=wi&authuser=0&ei=-fUsUerCA6KM0AXIsIH4CA&biw=1280&bih=666&sei=-vUsUb_HI4Oe0QWo6oDoAQ#imgrc=sewa6ax5SipMVM%3A%3BHT2OpI8eV09KyM%3Bhttp%253A%252F%252Fwww.mediacollege.com%252Faudio%252Fimages%252Fmic-condenser.gif%3Bhttp%253A%252F%252Fwww.mediacollege.com%252Faudio%252Fmicrophones%252Fcondenser.html%3B440%3B300

3. http://www.shure.co.uk/support_download/educational_content/microphones-basics/microphone_transducer_types

4. http://www.google.com/search?client=safari&rls=en&q=condenser+microphone&oe=UTF-8&um=1&ie=UTF-8&hl=en&tbm=isch&source=og&sa=N&tab=wi&authuser=0&ei=-fUsUerCA6KM0AXIsIH4CA&biw=1280&bih=666&sei=-vUsUb_HI4Oe0QWo6oDoAQ#um=1&hl=en&client=safari&rls=en&authuser=0&tbm=isch&sa=1&q=ribbon+microphone&oq=ribbon+microphone&gs_l=img.3..0l2j0i5j0i24l7.1379277.1380383.0.1380596.6.6.0.0.0.0.98.334.6.6.0...0.0...1c.1.4.img.w40G95QADCw&bav=on.2,or.r_gc.r_pw.r_cp.r_qf.&bvm=bv.42965579,d.d2k&fp=36fdf068e1a0ad5&biw=1280&bih=666&imgrc=C0QFYtv29YQhVM%3A%3Bh5QC7_L_py_RqM%3Bhttp%253A%252F%252F2.bp.blogspot.com%252F-d2313ztyftE%252FTwTGLduCEAI%252FAAAAAAAAA4w%252FPVpJH2WOJFs%252Fs1600%252Fribbon%252Bfig1.gif%3Bhttp%253A%252F%252Fsomeaudioguy.blogspot.com%252F2012%252F01%252Fcascade-microphones-fat-head-ii-ribbon.html%3B648%3B718

Foley

Foley is the sound thats is re-created by the 'foley artist', in order to form a smooth and seamless track. For example, the use of props such as shoes or a metal chain can replace the original sound for a film and sometimes simply exaggerate what already exists.

"Foley helps to add back a controlled background layer of sound to produce a rich and realistic track."1.

Foley is needed in films as the natural background noises such as planes or the rustling of trees can be loud and overpower the original sound as it happens. As well as this, props used often aren't real. For example, an actor may appear to be walking on a marble floor, when in reality, the set designer has made it out of painted plywood. A foley artist ensures that all of these motions sound realistic. If you can't tell it's foley - it means it's done well!

Examples of Foley:

• Footsteps
• Picking up a set of keys
• Opening a Door

There are different types of Foley used in film. Moves, Feet and Specifies:

'Moves'  Track

  This is the sound that accompanies the sound of footsteps for example. It is the recreated noise of an actors clothing as it rustles when they move, walk or run. Having a moves track, the sound is a lot more realistic. Although it is subtle, it prevents the track from sounding too 'perfect'.

  You create this sound through simply taking the material of clothing that the actor wears, and rubbing it  gently against your body, holding it loosely in your hands to simulate the motion that is happening in the film. This is done by watching the action on a screen and creating the sound as it happens.

Footsteps

  Footsteps are one of the most important sound elements of the foley artist's job. The syncing is vital, along with ensuring that the right surface is used, for example, wood, concrete... As well as this, each step has a 'feeling', such as heavy or fast paced. The microphone is fixed when creating this sound, which makes it even harder for the artist as it diminishes the amount of space they have to perform.

1.

Specifics

  A specific is a sound that isn't the movement of clothing or footsteps. It is considered the fun part of foley, as it is where the artist can experiment with actions such as a punch in the face. You can use endless objects to form these sounds, for example, corn flour to re-create footsteps in snow.

References:

1. http://www.marblehead.net/foley/

Session: 06/02/2013

In the session, we went into the sound studio in the harmer building to take a look at the equipment that has been made available for us to use. I am glad we were shown this space as I think that it will be good to use for projects coming up. As well as this, we watched 'Wall-E: Animation Sound Design'. This short film described the way in which Ben Burtt and his team for 'Wall-E' by Andrew Stanton created it's elaborate  sound design. Below is a copy of the film:

As well as this, we recorded some Foley in the session. Myself and Ben paired up and created some interesting sounds using dynamic, contact and rifle microphones. We gained some good sounds of a 5kg weight rolling along the floor, as well as other noises such as the 'lightsaber' style sound, through tapping a slinky whilst holding a contact mic onto the metal. We saved the sounds on a computer and plan to listen to and edit them if needed soon.

Exercise One: Sound Design to Picture

For the first exercise, I will have to create a soundscape for a mute clip in a film. The choices of films are as follows:

• No Country for Old Men (Joel & Ethan Coen, 2007)
• Solaris (Steven Soderbergh, 2002)
• Lost in Translation (Sofia Coppola, 2003)
• Pi (Darren Aronofsky, 1998)
• Hannah-Bi (Takeshi Kitano, 1997)

For this, I need to combine many elements such as dialoge, sync/none-sync sound, atmos tracks, music, foley and sound effects. I plan to approach the exercise by thinking about aspects like the films genre, style and equipment needed to capture the desired sounds.

The clip I have chosen is that from Steven Soderbergh's 'Solaris'.