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Uh, oh. This is a favorite topic of mine. Look out!
My last film, I ran the shot gun, hooked upa lav for some shots andwe also used the on-camera mic for some shots. 3 different audio sources.We used the on-camera mic for the rough cut before the DAT recorder audiocame together. Theshotgun micfrom the DAT is what we ended up using, though.
robgrauertis right. I think thatgood audiois more important for a narrative rather than a documentary. Have you listened to Hollywood film? The sound is intense!! Loud sound FX, crisp dialouge and strong music bring the whole thing together.
I love sound design and have discovered that good audio will always save your bacon. It could be the only redeeming quality of the movie. I think good audio is more important than good video. I worry about the audio more than the video.
BTW, festival winning, professionalmovies WILL HAVE good audio. All the movies I’veheard(keyword, heard)that won festivals, the audio was outstanding. Videomaker agrees in the July magazine(read the Editing column).
To find a good sound guy(that wasn’t me), I’d look for a musicianor ipod lover whoreally listens to his music. It’s easy to be a good judge of sound if you start with music.Post on craigslist or ask your friends. JUST MAKE SURE TO LISTEN TO THE AUDIO YOUR GETTING, DON’T JUST TRUST YOUR AUDIO MAN.As stated above, audio can save your movie.
I believe lav mics are omnidirectional,so if you don’t want background noise, then get a shotgun and point it at the actor.
Study up on sound and foley. It will be worth your time for your whole career. And practice, practice, practice.