Half Of Good Video Is Good Audio

 

 

 

 

 

 

 

 

 

 

 

 

 

One of the most frequent mistakes we see at DVFreelancer is rookie filmmakers ignoring audio. What we see more often is people agonizing over this camera or that one, comparing them down to the smallest detail and spending almost all their equipment budget on the camera and not leaving enough left over for lights and sound gear.

There are basically two ways to approach getting better audio: Second sound, where you use a separate recorder and microphone, and attaching an external mic to your video camera or DSLR and recording your outside audio right along with the video. Both approaches have limitations and may not always be the best choice in a particular shooting situation.

Sound Recorder

For our purposes here I’m going to assume you want to record audio for a low-budget feature, documentary or other personal project. Because if this was a big production you’d hire a sound person who already has a device like a Sound Devices 788T 8 channel recorder that runs somewhere in the neighborhood of $7,000, plus a vast array of very expensive microphones, boom poles (also called fish poles), wireless transmitters and receivers as well as a box full of furries, blimpies and foam covers.

Until you get into big dollar filmmaking, it’s usually possible to record quality audio with a device like either of these below for under $300.00.

H4N Zoom

 

 

 

 

 

Tascam DR-100

 

 

 

 

 

You’ll also need a microphone and maybe some wireless kit. Microphones come in many flavors and to get the most bang for your buck you want to stick to the tried and true.

For on camera mics, one of the more popular is the Rode VideoMic for $149.00. That mic has a 3.5mm miniplug and is a favorite among DSLR video shooters.

For a second sound system you might want to consider a microphone like the Sennheiser ME66/K6P Super-Cardioid Short Shotgun, a mic that’s long been a staple of large and small budget productions alike. The ME66 is better on a boom pole with a furry, but I’ve used it on camera, even though it looks a little odd.

For capturing room tone and depth, I go with the Cascade Fat Head Ribbon Mic. This type of mic is also excellent for recording live events, like an orchestra or live recital.

Both the ME66 and Fat Head will either need to be connected to your external recorder with a XLR mic cable or to your camera’s XLR connection if you have them. When using a mic either on a stand or boom pole, you’ll almost always be shooting second sound.

Another option is to replace the cord with a wireless kit, like this one by Sennheiser. This also comes with a handheld mic for interviews and a small lavalier clip-on mic. My biggest problem using my wireless mics is leaving the transmitter on the interview subject and driving away.

As you can see getting good audio is starting to add up to some money and you’re not through yet. Even if you record second sound, you still have to match up the audio files with the audio track on the video. For that you’ll want to get a clapper, also called a “slate”. That SNAP! at the beginning of a take is there to help the editor or sound person sync the outside audio with the sound track on the video. It’s either a slate or an expensive piece of software called Plural-Eyes. The slate is more fun.

So there you have it. The basics of getting good audio on your next video shoot. It costs money, it takes time, and sometimes an extra body to work the boom. But it’s worth it in the final product when people aren’t straining to hear the dialog in your production or asking their neighbor what one of the characters just said.

For on movie audio visit our Sound Forum.

Editor’s note: This article originally included the DR-40 instead of the DR-100.  That change was made due to user comments suggesting the DR-40 was not the best choice.  

Tags: clappers, getting great video, room tone, second sound, video sound