Getting good Audio is no mistake
Spending time
thinking about
sound will help you avoid problems in the
editing room. There is nothing worse
than having a great scene, visually beautiful,
with great content ..but the audio is too low,
or has a buzz.
You can eliminate this stuff by getting it
right....at the point of recording.
This newsletter is designed to help you gain an
overall strategy in recording sound for your
video.
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1 + 1= 2 Separate Audio Channels
The basic audio recording starts with the place
the signal gets recorded, and that's the 2 audio
channels on your camcorder.
On most cameras
there are two high quality audio channels,
on more advanced cameras, there are as
many as four. Most of you will purchase cameras
that have 2 audio Channels.
These two audio
inputs are the key to getting good audio, by
using them you are switching off the built-in
mic that came with your camera. Then you
will plug higher quality microphones into these
2 inputs.
The manufacturers have improved the built-in
on-camera
microphones, but they tend to make the person
sound distant unless they are close to
the camera. Often times you do not want to be
in your subjects face, and need to get good
audio...that's when these mics under- perform.
That is why I do not suggest using the mic that
came with your camera. Use real mics.
To get access and plug your mics or audio into
these 2 Channels, there are two types of Input
Connections.
More expensive
cameras (as in photo above) have two built in
XLR connections (one for each channel).
On cheaper
cameras (example: Canon Camcorder image below)
there is only one connection, a small female
mini plug input.
Even though these cheaper cameras only have one
input, they still have two separate channels..you
must use a BeachTek Adapter in order get two
DIFFERENT AUDIO SOURCES into the this
type of camera at the same time.
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Suntan Lotion not needed for this BeachTek
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BeachTek DXA-2S
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Male Mini plug for camera
input
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2 Female XLR Inputs for
microphones.
If you own a Canon HV30 or
HV40, or any camera with a single mic
input...buying
a Beachtek is one of the best purchases you
can make for under $200.
On the Rear
Connection Panel, you will see the two XLR
inputs.
It gives you the ability to record two
sources at the same time, on 2 individual
channels, and than later you can decide how
to mix them together...but the
important part is that you have them
recorded separately...leaving
important audio decisions to the edit
process.
You may raise and lower the volume with the
controls on the front panel...I tend to keep
these at 3/4 position and use the camera's
audio controls when filming.
NOTICE THE "M -S" switch on the front panel
of the BeackTek...Keep this on "S" to
keep SEPARATE audio Channels. Put it on "M"
to mix both audio sources together.
"M" would be used in situations like a
Performance or Play, when you are handing
the tape right over without editing. Then
when your client plays it, or the copies,
the Sound will be mixed TO BOTH TRACKS.
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No bucks for a BeachTEK? .....don't worry be
happy
There is a
twenty dollar solution. Purchase a
Female XLR to mini adapter like in
the photo.
The only
issue with this solution is that it
forces you
to record One Signal on both audio Channels,
you need a BeachTek in order to use both
tracks independently.
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Just when you thought you were done...
This is one of the BIGGEST MISTAKES...it can
really mess you UP.
Notice in above
image....next to INPUT 1...it says REC CH
SELECT...and the switch is next to CH!>CH2.
UNLESS YOU ARE FILMING A PLAY OR PERFORMANCE,
this is INCORRECT.
What this
switch next to CH.1 is doing..is telling the
CAMCORDER TO RECORD CH.1 TO BOTH CH.1 & CH.2
(similar to the BeachTek being set to
"m")
YOU MUST SWITCH
this to REC CH SELECT: CH.1
Then Ch.1 will record to Ch.1 and Ch2 will go to
Ch.2
IF YOU DO NOT CHANGE THIS PHYSICALLY ON THE
CAMERA ...
(IN THE CASE OF
THE CANON HDV XH-A1 SERIES.. IT IS IN THE
CAMERA'S VIEWFINDER MENU..not on the
camera itself)
....ANY
AUDIO SOURCE PLUGGED INTO CH.2 WILL NOT BE HEARD
IN THE HEADPHONES OR RECORDED.
If you have ever tried plugging a mic into Ch.2
and heard nothing..try checking these settings.
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Mic vs. Line
You must
tell the camera what type of signal you are
sending to each of the audio channels.
There are two basic forms of audio
MIC and LINE
These are often referred to as impedance
levels......but the only time you will call
them that is at dinner parties as you try to
impress your friends with your audio
knowledge .
MIC-
is the type of signal that is generated by
most microphones that are directly plugged
into the camera.
LINE-
is usually associated with a signal
generated by a audio PA (PUBLIC ADDRESS)
System or A mixing board at a music venue.
YOU MUST
FIND the selection MIC / LINE SWITCH
next TO THE XLR INPUTS on your camera or
BeachTek..... and switch it to
the
corresponding TYPE OF AUDIO SOURCE you are
plugging in.
If you record a mic into an audio channel
that has Line selected, you will get low
levels, tin sounding and even a buzz.
THIS IS A COMMON SCREW UP THAT CAN CAUSE YOU
BIG PROBLEMS LATER ON.
DO NOT RATIONALIZE BAD SOUND, OR BLAME IT ON
YOUR HEADPHONES.
To avoid these problems
double check your settings at each
location.
- Some
Canon
Cameras have the MIC/LINE selection
inside the camera menu.
-
Sony
and Panasonic with built-in XLRs, there
is a physical SWITCH near each XLR.
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The
BeachTek has a Line/Mic Switch above
each XLR Input.
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Be Level Headed
No Prozac needed to get good audio levels.
The best
way to control the volume of audio recorded
is to use the Manual settings on your
camera. There is automatic audio control on
all cameras.
In order to have the confidence to move from
AUTOMATIC AUDIO LEVEL (sometimes referred to
as AGC-automatic gain control) to MANUAL
AUDIO, understanding the audio levels
on your camera is the first step.
Most cameras give you some control over
audio.
The first
step is switching the two audio Channels to
Manual. Then adjusting the audio as
you go.
Volume controls can be dials on the side or
back of the camera, or menu based in your
viewfinder (Canon HV30 & HV40)
Audio
levels must be monitored constantly
as you are shooting...most cameras have some
way of watching the levels in the
viewfinder.
You want
the audio to PEAK just before the signal
hits it ZERO POINT (on some cameras this is
0db, on others -12db), in many cases, the
camera's viewfinder will turn the signal
into Yellow as a CAUTION and RED as TOO
LOUD.
Try and
keep the main audio as close to the Yellow
as possible (using camera's audio controls).
In most cases it is okay for it to go a
little over this at loud moments.
If the Sound
is SO LOUD,
such as a rock band, and you can not get the
level below the PEAK...find the MIC/LINE
switch or menu selection,
SELECT MIC
ATT. This will lower the audio to
give you control.
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CLIP-ON Lavalier Mics
for interviews & your main subject's audio.
If your
doing an interview, recording the host of
your marketing video, or following the
subject of your documentary around...you
must use a tiny clip-on mic.
Placed on a
collar or shirt edge, and in some cases
hidden inside clothing, these mics ARE A
MUST for any serious production or web
video.
These mics
can be a WIRELESS or WIRED connection
to the camera.
Most
wireless systems are "MIC LEVEL" impedance.
BEST NON-WIRELESS LAVALIER MICROPHONES
In terms of wired mics I suggest
The Sony ECM44b
Audo Technica 189
Tram TR50 Hard wired
These are
affordable alternatives to the more
expensive wireless stuff below. THE
AUDIO QUALITY IS SIMILAR, it is just that
your
subject must be connected to your camera
with a wire. For sit down interviews
that is fine, but
for "walk and Talk" or "chill footage" this
can hamper your subjects freedom of motion.
BEST
WIRELESS LAVALIER MICROPHONE SYSTEMS
The price range is big , here is what I
suggest
The Basic Kit
Sennheiser G3 series
The Sennheiser G3 series comes with a mic
that is vastly out-performed by OTHER mics
made by TRAM & COUNTRYMAN.
I suggest adding this
$229 Tram TR50
to the ABOVE package.
The better than Basic Kit
Lectrosonics 100 Series - Wireless UHF
Lavalier Microphone System with M152
Lavalier
I would also suggest ordering the Tram TR50
with this package, make sure you ask for the
Tram with a connection for this exact unit.
BUY A BACK-UP WIRED LAVALIER MICROPHONE IF
YOU HAVE THE FUNDS.
WIRELESS
MICS CAN GET INTERFERENCE FROM BLACKBERRY
DEVICES OR OTHER WIRELESS SIGNALS....most
professionals always carry one or two wired
lavaliers as back up.
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Shotgun/Directional Microphones
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Audio Recording Strategies
We have
discussed the different mics, the concept of two
separate audio channels, the idea of LINE and
MIC and Audio control being AUTOMATIC or MANUAL
Control.
- In documentary or slice
of life video work,
if there is
a lot going on, interviewing, producing,
shooting at the same time...... I put the
subject's wireless lavalier on Automatic,
and keep the Shotgun on Manual.
- In a sit down controlled
environment, I put everything on manual.
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I want to caution you against
using AUTO with the shotgun mic. It will not
sound as good and the "reach" (distance
between you and the subject) is reduced.
Just try a test yourself, plug in your new
shotgun mic, than with headphones on..switch
between MANUAL AND AUT0....it will be clear
to you which is better.
- SOUND BLANKETS ON THE
FLOOR CAN REDUCE ECHO IN A ROOM.
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SHUT OFF REFRIGERATORS AND
COOKOO CLOCKS
- THINK ABOUT
BACKGROUND
NOISE BEFORE DOING AN IMPORTANT
INTERVIEW....for example: Filing interviews
at a loud awards dinner...take the person
outside or to a quiet hallway to film
important story telling interviews.
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Summary of Audio Essentials for Video
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