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You've heard it said in video and film, AUDIO is 70% of what you see. The sound you record on set can be the biggest obstacle to achieving truly professional results in your production. But it's also one of the easiest things to get right.
This 2.5-hour course is ideal for beginners, excellent for intermediates who want to better understand the topics, and great for professionals as easy reference. It will be a program you come back to again and again.
You've heard it said in video and film, AUDIO is 70% of what you see. The sound you record on set can be the biggest obstacle to achieving truly professional results in your production. But it's also one of the easiest things to get right.
This 2.5-hour course is ideal for beginners, excellent for intermediates who want to better understand the topics, and great for professionals as easy reference. It will be a program you come back to again and again.
Through detailed explanation, hands-on demonstration, and tongue-in-cheek sketch comedy and cinematic vignettes, Barry Green and Matt Gettemeier guide you through fundamentals for getting great sound in your film or television project.
They'll get you on your way to professional-sounding audio, from two very simple but extremely important recording techniques which will solve nearly 80% of your audio problems, to choosing the correct microphone for your project and the right way to handle your microphones on set, to building a basic audio kit and using it properly, to choosing and managing locations to get the best possible sound recording environment.
Then join DVXUser post-production guru David Jimerson as he explains the basics of audio post production what to do with your sound once you've recorded it, taking a real scene from raw cuts all the way to a complete sound mix.
With over two and a half hours of instruction, SOUND for Film and Television is your first step toward achieving great audio.
Topics:
Lavalieres
Building An Audio KitWind ProtectionShock MountsBoom PolesHeadphonesPutting It All Together
LavalieresSpatial PerspectiveShotguns: Special ConsiderationsWhy Shotguns Shine OutdoorsUsing Lavs On A ShootWiring TalentMounting A LavRecording LevelsMonitoring Your AudioMicrophones & Power2-Channel vs. 4-ChannelDon't Panic.
LOCATIONS: Choice & Management
Assessing An InteriorWhat You Want In A LocationManaging InteriorsEchoPhasingRoom ToneLooping
POST-PRODUCTION: Editing Basics
Beginning The EditLevelsUsing Room ToneNLE Audio Tools To Deal With NoiseBuilding A More Complete Sound MixFixes You CAN Do In PostWrapping Up
CONCLUSION: Parting ThoughtsConclusion & Credits
An overview of the course, and a taste of what's to come.
An overview of many of the persistent myths of recording sound, and why you're not getting what you want yet. An introduction to the two techniques which will get you 80% of the way toward recording great sound.
A detailed overview of just how much getting your microphone as close as possible helps record your best sound.
Why location matters so much when recording sound.
Microphone polar pickup patterns and why they're important. The uses for different pickup patterns. Types of microphones.
A guide on choosing the correct microphone type for the job at hand.
Wind protection, boom poles, microphone mounts, field mixers, and more.
A demonstration of a sound kit used all together.
Introduction to concepts. The beginning of using boom microphones.
Proper technique for using a boom pole. Riding the frame line. Spatial perspective.
Special concerns with the ubiquitous shotgun microphone. Techniques, concerns, and pitfalls for shooting outdoors.
How, why, and when to use lavaliere microphones. Sound comparison with a boomed microphone.
Mounting a lavaliere microphone for optimum sound and minimal problems.
Proper volume levels when recording; miscellaneous odds and ends.
An overview of dealing with locations and what to watch out for.
Best practices for how to get the best sound possible in an interior -- where the acoustic sweet spot is, how to do dress a room for good sound, and more.
All about echo, why it happens, why it's bad, and how to minimize/avoid it.
What phasing is and how to avoid it.
Recording room tone -- why and how. Suggestions for looping/ADR.
What you can and can't accomplish in post-production; things to avoid.
L-cuts, J-cuts, editing for smooth dialog, proper volume levels.
Using the room tone you recorded; the basics of ambient sound. Using equalizers, noise gates, and other tools in your NLE.
The basics of a full sound mix. Sound fixes you can do in post if you planned for them and shot accordingly on set.
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