Have you ever recognized a sound effect in a movie or television show? Close you eyes and imagine the sound of the doors opening on the bridge in Star Trek. Listen for the PING that emanates throughout. Hear that musical tinkling sound as Scotty beams the captain aboard. Sounds we've heard since the '60s are as recognizable as a heartbeat.

Just like seeing a font or Photoshop filter you've used before, every sound effect has a signature that makes it easier to identify. The truth is that, just like you, the big productions grab sound effects as needed from effect libraries. It's entirely possible they're using the same library you have. Our challenge this month is to break free of the sameness of effects libraries and create something uniquely our own. You probably have all the tools already and, if you don't, there are very cost-effective options we can share.

Why Sound Effects?

On the surface, sound effects may seem unnecessary. Can't we just record the voices and sounds as we shoot and present a completely honest soundtrack? You can do that, but I think you'll be disappointed with the results. In the enhanced reality of Hollywood, it's common to replace almost every sound - from main dialog to the smallest squeak. Your viewers grew up expecting that type of sound as they watch various forms of media. While a completely organic soundtrack is possible, it's the exception rather than the rule. The good news is that you can create big sounds for your productions, too. There is an art to it, but the basics aren't all that hard.

What Gear do I Need?

First, you'll need some recording equipment; specifically, an audio recorder, a microphone or two and a good pair of headphones. Audio recorders take many forms these days. A laptop or netbook computer with an audio interface is a very nice, portable way to gather sound effects. Using Adobe Audition, Sony Sound Forge or a number of other software packages, you'll have a fully mobile recording studio. If you're short on software, look for Nero's Wave Editor (bundled with their disc-burning package) or download the freeware Audacity. Both work great for basic recording and editing. Assuming your camcorder has an external microphone jack; it also serves as a good, basic audio recorder. Even the tiny Kodak Zi8 has a mic jack and will work well in a pinch. If you'd prefer a more dedicated solution, consider the Zoom H2. For under $200 you get four built-in mic capsules and the ability to record surround sound too.

As for microphones, start with what you have. If you're already using a handheld or shotgun mic for productions, try that first. Even a lapel microphone works for sound effect gathering. Just make sure you use a windscreen if you're going outdoors. Do some test recordings and evaluate the sound quality. If you discover that a microphone upgrade is needed, at least you have a baseline to shop with. As for headphones, any good pair of isolating headphones should work. If you use headphones for video shoots (you do use headphones, right?) they are a great starting place for your sound effects recordings. Just like mics, start with your existing gear and use that as a reference point for any future upgrades.

Get Real

Many Hollywood sound effects are substitutes for the real thing - often bad substitutes. Car guys hate this. If a little scooter whizzes across the screen, it should be the sound of a scooter, not a Harley Davidson. So, when you're recording sound effects, try to be as authentic as possible. If your production showcases the hero stepping out of a giant Hummer H2 and slamming the door, don't record the door of your Toyota - record the Hummer. You get the point.

As you're recording, there are several things to monitor. That door slam will start with a giant spike in sound level. Make sure you have plenty of recording headroom to eliminate the possibility of signal overload and distortion. If anything, record a little lower than normal - you can always bump the volume in post. Also, listen closely to the sound. Placing the mic close to the source may produce a sound with big impact, but that may not suit the scene. For safety, record several versions. Start with a few takes up close, then move the microphone back a bit and grab a few more takes. Finally, move the mic back even further - maybe somewhere close to the original camera position - and record some more. Later, when you edit, you stand a good chance of finding that one magical take that fits perfectly in your project.