How to Fix Location Sound Problems before Filming
Filmmaking is not an easy job. Anyone who has tried filming just once knows it. The difficulty of making films stems from the fact that you have to pay attention to so many items at the same time: the script, the actors, the camera, the shooting schedule, the myriad of unforeseen problems, the financing of the production, and so on. A director has to deal with no small amount of stress, and one of the most demanding aspects is sound quality.
Sound is half of the work on audiovisual production. That’s why if you really want to do something professionally, the idea is that you can collaborate with a sound technician, like the ones you can find at Enhanced Media. In direct sound recording there are hundreds of nuances, and having a trained ear and knowing how to get the most out of it is not easy. However, when you’re just starting out on this difficult but fascinating path, you’ll have to do it yourself first. So let’s get into the ABC.
The first thing to understand is that the principles for preventing sound problems on location are the same for any type of shoot. It is essential to remember that the audience expects to find flawless sound (even if they are more focused on the picture, the actors, or the special effects). The reason for this is one of those issues that beginners don’t often give much thought to sound is directly related to the emotions of the audience while the image is more about the information you want to convey. The absence of sound will probably not transmit emotions. A bad choice of soundtrack or poor sound quality may confuse the viewer, and, on the contrary, the more precise you are in the sound you produce, the less confusion in the viewer’s mind.
It sounds generalizing, but, if the production has excellent sound, half of the job is done.
Now, this is one of the typical beginner’s mistakes: not checking the locations well and doing nothing to prevent eventual sound issues. It is fundamental to visit the location before shooting (before arriving with actors, equipment, lights, staff, etc.), and to do sound checks, if possible, in the places where the shots will be taken. This will allow you to know the basic problems of acoustics, reverberation, unnecessary echoes, or any other eventual problems (the passage of airplanes or other vehicles, rain on the roof, wind, animals, etc.). Seriously: there are always problems because a good part of film locations are not spaces suitable for making movies, they are not recording studios.
Being careful when visiting the location can also let you know what to do about each of these problems, for example, knowing what kind of microphones to use. In any case, a basic recommendation is not to rely on the built-in microphones of the cameras. Doing so will guarantee a series of problems impossible to solve in an editing studio.
Another aspect to take into account (derived from the above) is to have a sound engineer who is fairly expert in the subject. Since you should not rely on the built-in microphone, you will have to use a microphone to capture the voices of the actors, for instance, and, in this way, someone should position the microphone and maneuver it while another person directs, and another one records, etc. A good soundman, in addition, must know how to operate a professional microphone and will be careful to monitor everything that is recorded. It is better to repeat a take due to an audio technical problem than to do magic during the editing process and thus ruin the sound quality.
Another important tip is to never forget the sound chain — the basic system of inputs and outputs. The sound you want to record goes to the microphone, from the microphone it goes to the cables and connections, and from there it goes to the mixer if there is one. If not, the sound will continue its way to the recorder, and from there, to the headphones of the sound engineer, who will control that the quality is optimal to finish the recording during a scene. It is vital to keep this chain in mind because problems can occur at each of these steps, and each of them can lead to serious consequences for the quality of the sound, and therefore the quality of the whole work in question.
Finally, it is useful to know a little about microphones: types, prices, quality, pros, and cons. No matter how amateur you are, you should know the difference between an Omni, a shotgun, and lavalier mics; you should look for a good tripod, a good zeppelin, and windshield, and have quality cables (no, don’t buy cheap cables, even if you’re on a budget.) Read a bit about the difference between a balanced and an unbalanced cable, and keep in mind that the longer the distance of the cable in the sound chain, the more likely you are to ruin the sound.
Now, as for the work that follows, be sure to consider the option of working with professionals who will know how to make the best decisions when it comes to mixing and editing. Therefore, if you are interested in mixing the sound of your production, please contact us.
