How to record the best sound in a movie?

How to record the best sound in a movie?

There is no doubt about the role of sound in movies. Good audio material is really a fortune for movie audio, and to get good audio, we must start with live recording. Here are my techniques for recording the best sound in movies. I hope everyone will read it carefully!

record live

First, dual systems are preferred, regardless of whether the camera can record or not.

Of course, it is also very convenient to record the sound directly on the camera, and there is no need to synchronize the clappers, and there is no need to align the position before post-editing. There is always sound in the image file. I can't find the movie file or the sound file. Of course, the camera is an image capture device, and it has also made great progress in the past few years in terms of sound performance. However, compared with professional recording equipment that has also made great progress, it is always dwarfed. For example, 24-bit resolution, no compression and sampling frequency as high as 96KHz (even 192KHz) are invisible on the camera.

Although the bit of 16 seems to be enough, theoretically, the dynamic range of 24 bits of 144dB is not needed. Indeed, the played 16 bit is enough, but in the process of recording, it is always rare to use 16 bit accurately and completely. 24 bits provide a broad space for the dynamic range of recording, so that post-production does not have to hit a wall everywhere. Another advantage: dual system recording means that there is no need to pull a bunch of wires for the camera. Photographers don't have to worry about accidentally making mistakes in recording settings.

Second, professional boom operators.

In the recording work, we should first put the microphone in the best position. In the synchronous recording of shooting, in order to prevent the microphone from appearing in the picture, we should try to keep the microphone close to the sound source. Boom man is the first key to successful recording. The microphone is misplaced, and the sound engineer can do nothing but worry. Unless he does it himself, he will become Booman. But if the sound engineer has to deal with other jobs, Booman should have full-time staff, not only full-time, but also experienced.

He must understand sound phenomena, preferably acoustics. You should also understand the microphone, and you should also understand the relationship between light and shadow. It is not that the microphone should not appear, and the shadow of the microphone and boom cannot appear. He must be like a flexible cat, moving quietly and silently, without tripping over wires or tracks, or bumping into a camera rocker or tripod. He must also hold the fishing rod high for a long time like an athlete, just as soldiers used to practice spearing.

Third, don't think that post-production can fix everything.

It has been more than 80 years since the sound film came out, but the same mistakes have happened again and again. The importance of sound is always behind the image. So as long as the picture is ok, the sound problem can be solved later. The car outside the picture made noise and was "repaired" by the later computer. As a result, I had to go back to the recording studio and spend a lot of manpower and time doing a job that only needed to be filmed again at the shooting scene. Everything, as long as there is no background noise.

Fourth, playing the board and recording.

Slamming is very important for the production of dual systems without time code. Shooting content can not only make the camera shoot the record of the clapper, but also read and record these contents at the beginning of the file, which is of great help to file management. It's easy to edit by yourself. The problem is how to explain things clearly when you give your materials to an editor you have never met.

Fifth, the collection of environmental sound.

Be sure to collect enough ambient sound before shooting, and there should be no obvious and easily recognizable sudden sound. Staff, please keep quiet. If there is unacceptable high noise in the environment, clean it up before shooting. Maybe it's the sound of air conditioning, maybe the live performance of the band next door, maybe the traffic, maybe the sound of water and the wind. ......

Sixth, wireless wheat is not a lifesaving elixir.

Wireless is a magical choice. In the era when everything has been wireless, wireless wheat seems to be taken for granted. However, the digital TV broadcasting channels in the United States have turned many radio stations into waste, and the invisible wireless signals in the air will make the sound of radio stations unusable. You must be prepared. What if the wireless microphone doesn't work? Today's small high-performance tape recorders are smaller than wireless pocket machines, which may be one of the tools you can use.

Seventh, there is no such thing as "superelevation pointing to wheat"

Let's just say. If you compare a microphone to a lens, you can only choose fisheye, super wide angle and small wide angle.

Household microphone recording

Good tools:

A good microphone and a good audio interface are important foundations for good recording. You don't need a wheat worth tens of thousands, but a good wheat does play a lot of roles. The audio interface needs a clear preamplifier to reduce the noise entering the recording. Your recording software is better, so as to avoid the delay. Before you start recording, take some time to get to know your tools.

Correct recording format:

You need to decide in advance which recording format you want to use. Don't expect good results if you record at 8bit and 8000khz. The best format for recording is wav or aiff. Use the settings of 44 100khz and 16bit to get the best quality (this is the minimum setting for good quality, you can set a higher value). We have always advised against recording in mp3 format, because this format cannot capture the complete original audio spectrum. However, if you must record in mp3 format, please use a setting not less than 320kpbs.

Placement of wheat:

In order to capture the complete sound wave range of audio, the distance between microphone and mouth should be appropriate when recording. Our experience starts at 9 inches. If you get too close, you may record breathing or something. If it is too far away, the recorded sound will sound dull and weak. At the same time, you need to use the blowout preventer to filter out the breathing sound and the "B" and "P" blasting sound. These blasting sounds are difficult to solve in post-processing.

Attention level:

Make sure your recording level is in the green range! This is very important, because once your audio starts to be clipped (the signal level exceeds 0 db, that is, it turns red), your recording will have a very troublesome distortion, which cannot be handled later. However, the level should not be too low, because it will lead to more noise in the signal. An appropriate level of -6db to -4db is a good starting point. Pay close attention to the recording level during the whole recording process.

Don't try to solve it by post-processing:

Don't drag mistakes to the mixing and mastering stage to delete them. Audio can be modified in the later stage of post-production, but the result of modification still depends on the quality of the original audio. Good recording = good mixing, and vice versa.

Noise-Your Enemy:

Make sure that the fan and air conditioner are turned off. Close all the doors and make sure your neighbor's dog doesn't bark. Keep a certain distance from the computer when recording to minimize the noise of the CPU fan. Always put the microphone on the stand, which can minimize the noise generated by manual operation.

Keep the pitch:

Many devices will be out of tune when recording, so it is very important to re-tune. When singing, don't think that automatic tuning can solve all problems. A good recording with perfect pitch needs several attempts, but it's worth it.

Recording dry sound:

It is best to record all human voices and instrumental sounds without any automatic effect. So you can have more flexibility in post-production. Once you use an additional effect in the recording, it will become a permanent feature of this audio and cannot be deleted later. If you want to use any effect, use it as little as possible.

Train your mind and ears:

How good your ears are, how good your recording will be. Listen to some good recordings or advertising recordings and compare them with your own recordings. How do they sound and feel compared with your recordings? If you are not satisfied with your recording effect, you can do some experiments, watch more tutorials and learn with your own tools and recording equipment. There is no shortcut to gain experience and knowledge.

sound studio

Singing in the studio is very different from ordinary stage performances. The first is to adjust hearing. Because when we are performing, Andhadhun will add reverberation, echo, delay and other effects to our voice-in layman's terms, the so-called karaoke effect will give us better sound texture, sound intensity and smooth sound lines. In the recording studio, the purpose is to correct and beautify the sound on the basis of recording it. For example: the voice that is too stuffy can be brighter; Too hard sound can be softened; You can try to turn the sound up as loud and light as usual. Especially now, digital music workstations are widely used. It can easily cut, paste and delete sounds like words in word processing software ... and even record them word by word.

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