Arrange the Perfect Acoustics to get better Sound (page 2)
What Can I Do About It?
Unless you carry a truck full of acoustic treatment products, there is little you can do to affect the audible attributes of the room you're shooting. However, there are several things you can do to tip the scales in your favor.
First, scout the room prior to the shoot and listen carefully to the sound of speech in your preferred location. If there is a significant amount of echo or liveliness to the sound, try to secure another locale. If another venue isn't available, look for the best position in your room of choice. Sometimes, moving just a few feet produces a dramatic change in sound.
There is another acoustic phenomenon call a "suck-out." This is a place in a room where all sound seems to disappear to some degree. Of course, you probably won't find one where you want or need it, but have someone speak as you walk around the room. You may find a position that contains less reflections and better sound quality.
If you must work in an acoustically live room, use a lapel microphone instead of a shotgun. A lapel microphone can be positioned closer to the mouth of the subject and uses the person's body to block sound reflections from other parts of the room. If you must use a shotgun microphone, position it as close to the subject as possible and consider a few alternate positions if your headphones tell you there is too much echo.
Finally, several companies offer temporary acoustic treatment products. These take the form of sound absorbing blankets, acoustic foam, insulated panels and stand-mounted sound absorbing devices. Large television and film production units often set these items up for each shoot, just outside the video frame. The results can be quite dramatic and prices have come down in recent years. As just one example, we found 68-inch x 76-inch sound blankets for less than $20 each at Markertek.
You've probably guessed by now that an acoustically "dead" room is preferable to a "live" one. The reason is simple - it's practically impossible to extract ambience from your recording, and it's very easy to add acoustic character to your audio during post-production through reverb and other digital effects, while it is nearly impossible to remove unwanted echoes and reverb.
Armed with your newfound knowledge of room acoustics, you will definitely be able to record better audio the next time you shoot.
Sidebar: Room With A View
Every room has a unique sonic signature. While this can work to your benefit, it more often results in less-than-ideal recordings. Listen closely to the rooms you shoot in and you'll quickly recognize some of the common traits. For instance, a large open living room may sound dead if it has carpet and overstuffed furniture, but may sound live if it has hardwood floors and sparse furnishings. Bedrooms are often small and boxy, with similar dimensions for height, width and length. These dimensions translate directly to its sonic character. Bathrooms often have tile on the floor and even the walls. That, along with all the porcelain and glass makes for a very bouncy acoustic environment.
Sidebar: DIY Soundproofing
Recording narration and voiceovers is a challenge, even with the right equipment. One of the most important recording tools is the room you record in. Not just any room will do since the ill effects of shape and furnishings can make your voiceover sound amateurish. Your first option is to find a walk-in closet full of clothes. Although cramped, this is an ideal recording environment from an acoustic standpoint. As they say, the deader, the better. Alternatively, you can sound proof a room for recording by hanging thick, padded objects on the walls - such as sleeping bags, comforters or moving blankets. Carpet scraps and even egg crates can all be used with amazing results.
