The Movie Minute with Madeline, Episode #8
Hey everyone,
Madeline here again with another entry in The Movie Minute. Last week, we discussed how lighting and exposure can make or break the finished video. So this week, the topic is on another element that is just as vital: having high-quality audio!
While it is true that many modern cameras have a built-in microphone, the audio quality isn’t always the best, and audio quality can make or break the final product. For this reason, we often use external mics and recorders, but we also must still enable camera audio for the purposes of syncing during post.
When we want to get some good scratch audio, “foley” or room tone, while in some cases the camera audio can be fine, it’s ideal to use a “shotgun mic.” The shotgun can be connected directly into the camera as an “internal” source or into an external recorder that can be synced with video later. Depending on the setup, a boom pole will not only ensure a crisp and clean audio source but a redundant audio solution in case the wireless/lavalier audio is interrupted or potentially ruined. In addition, various accessories can be helpful for wireless transmitters and receivers, depending on recording circumstances, such as a lavalier or “lav” attachment for mounting onto the subject, or a furry windscreen (commonly known as a “shaggy” or “dead cat”) so that wind and other noise doesn’t interfere with the audio quality. Before we begin recording, we ensure the mics are properly connected to the cameras and conduct sound checks using headphones to double check a clear audio channel, without static, pops or anything else that may interfere with a seamless audio recording.
However, the question remains, what specific brands or audio equipment do we choose to work with at Poor Bear Stories?
Our go-to mic kit for most interviews is the RODE Wireless Pro. While on the pricier side of prosumer audio solutions, it packs great quality audio recording (32 bit float) and features built-in storage for the audio tracks. The kit consists of two transmitters, which can be mounted on the subjects, and one receiver, which is connected to the camera, as well as a charging case (also used for dumping the audio files onto a drive) and other accessories. Though we tend to use RODE for most interviews due to its high quality audio and capabilities, we have also had great experience with the more affordable HOLLYLAND Lark M2. Not only does the Lark have great audio quality, but the transmitters also have a small, compact size and can be attached in many ways, such as a clip, necklace, and most notably, magnets. The Lark mics can be of great use for BTS footage or whenever we’ll need more than just the RODE mics. In addition, when it comes to boom microphones we have the Sennheiser MKE 600 for on-camera recording and better environment, scratch or interview recording.
Furthermore, we recently acquired and have completed an industry standard, and much higher-end “on-location” audio recording kit. The kit features a bag that contains battery/power, two Lectrosonic UM400a transmitter units, two UCR411a receivers, a WM unit, and several COS11d lavaliers. The kit itself is far more durable, and boasts larger transmitting distances with less interference for the range of RF (radio frequency) channels they operate on.
But having good audio goes beyond using the right mic equipment. When loading the mic tracks and footage onto the editing project, it’s vital to ensure that the video and audio are in sync with each other. To make things easier, many NLEs such as Premiere Pro have a syncing feature that can automatically sync audio and video clips together, saving plenty of time. However, this feature doesn’t always work, and Premiere, for example, only allows one clip per track to be selected when syncing. Occasionally, syncing has to be done the traditional, “old-school” way by analyzing the audio waveforms of each clip and aligning them to ensure that there’s no off-sync lip flap. Premiere Pro’s transcribing feature also helps immensely to match video and audio clips to each other, as well as for trimming of filler words and long pauses. Plus, it’s advisable to use effects such as fading, multiband compressors, and noise reduction to prevent any distracting errors and other unwanted elements in the final product.
“You can make the most beautiful film, with the best acting, amazing subject, and fantastic editing; but if your sound is bad, then none of it matters, and your audience will be too annoyed to enjoy your work.”
-Robert Chase, Senior Editor
To sum it up, the audio quality of a video is a major factor when it comes to producing the best content, and it takes using the right equipment and techniques to ensure that the viewer can experience content that is pristine in both sight and sound, as Chase described. Take it from us: it is not uncommon for our team to spend dozens of hours on audio, before, during, and after the camera rolls, per project. While it can be time consuming, it always pays off in the long run as we deliver high-quality content that will be powerful in telling stories that we can both see and hear!
That’s all for this week’s entry in The Movie Minute. I wish you all a great week, and I will see you all soon! -Madeline