The Importance of being Earnest about Sound. – back by popular demand
HI-FI / colloq. – adj. of high fidelity. – n. High-quality sound reproduction with little distortion.(Dictionary of Current English – The Oxford Dictionary‘ 92 )
Obviously this definition is a little out of date- with a point in mind. Although the principles of sound reproduction remain fundamentally unchanged (source – pickup- amplification – speaker), the instruments that we use and more importantly the expectations that we have, have changed dramatically. We not only expect clear and concise sound, we anticipate the movement of it, to place us in the heart of what ever it is we are listening to. We expect better sound, more dynamics and clarity beyond the stars.
So what is the first thing ya do. Ya use the mike…. on the camera.
What’s with that? Lets take a look at this from a TV NEWS (freelance costs with gear and Operator).
Camera – $1,500/ (12 hour) day approx.
Audio – $1000/(12 hour) day approx.
This includes all gear for the shoot – Camera, lights (simple 3 light kit), Mixer, boom etc.
so Audio is 41% of your budget, on the day, excluding expendables.
So take this to the Indie Level.
Camera $450 to Free /day approx. because lots of people have cameras
Lights $300 to Free – lights, we got lights
Audio Gear – $0 – because we’ll use the mic on the camera.
Why? Cause you’re making a picture. And if your budget is wiped out by the camera and light rental then you won’t have anything to put into sound. So, you shoot this beautiful footage and you can’t hear what anyone is saying. OK. So we’ll fix it in Post – ya… that’s it.
Worst thing that you could ever say (from a sound perspective) besides if you thought your budget was stretched before, just wait till you get to post!
Now wait, you’re posting it yourself, so what is the big deal? No cost there, I want a refund! Well whether you like it or not your time costs you and it will take plenty of time to make it right. So….
Now the obvious- if you did it right the first time on set, you have no worries. Now this last statement holds true on an Indies – but not necessarily on bigger productions when it is big dollars per second. To make it sound right, takes time, a lot of time and effort by your entire crew (yes everyone has to co-operate in this), your actors (that you have to call back in to do Additional Dialogue Replacement if they don’t get it right the first time) and of course your Post gurus. So once you factor this in at $/minute sometimes it is cheaper (not becessarily better) to do it in Post.
So you have problems with sound on set BUT you have something in the can -what is now called a guide track (cause you can’t use it in the final because you either can’t hear your talent very well or it is just too noisy or ????) . With that guide track you will lip sync everything – and that’s a lot of fun, really . Try it. And unless you’re making a really bad Kung Fu movie it will distract you from the production.
So plan on spending some time and or money on your sound. Don’t forget that tape and batteries cost money and factor that in to your budget as well. Whether you work with me or someone else or just rent the gear, do it right the first time – your audience will thank you.
Now lets take it one step further and really break it all down…
What can you get away with and what it really costs you…
The whole process is budget driven. So cash is King. People you can get for free (cringe yes it is true – especially if they want to learn – but don’t expect great quality from this process either), equipment is sometimes had for free and good equipment is almost always paid for. So here it is, from the bottom (least expensive), to the top, for the equipment only.
Use the Mic in the Camera – FREE
Pro’s - you get sound and it is Free
Con’s – Mic quality is usually poor. Can pick up Motor noise from the camera. Voice is almost always too distant because the mic is on the camera which allows for too much ambient sound. Fair for close ups. You are dependent on the camera to mix or adjust the mic levels properly (it is called AGC Automatic Gain Control or ALC – Automatic Level Control). No backup if sound fails. No control over final product. No reference as to how loud or soft your sound is.
Use a separate Mic placed on the Camera (not boomed) – $20 + (eg. Batteries if needed)
Pro’s – usually a better quality of mike. Cost is minimal – (rent $20+). Can incorporate different mics e.g.. a Shotgun mike (a mic that picks up sound in a very directional manner) which helps decrease ambient noise that is picked up.
Con’s – Susceptible to wind and Camera motor noise. Good for close ups. Dependent on Camera to Mix AGC/ALC- in quiet parts you usually lose your sound. No backup if sound fails. No control over final product. You can rent the wrong mic.
Use a separate Mic that is boomed with windscreen (Blimp/Zeppelin/Rycote™) – $55 +(e.g.. Batteries if needed)
Pro’s – still not much to spend to get the mic close to your subject. Good for close ups and fair to mid shots. Ambient sound is less of an issue. Better in wind with windscreen.
Con’s -You need someone to boom – so another mouth to feed. Can pick up Boom Noise and/or inconsistent sound quality (a really frustrating problem – happens with inexperienced operators not using the boom or mic properly). You can rent the wrong mic. Dependent on Camera to Mix (AGC) and in quiet parts you usually lose your sound. No backup if sound fails. No control over final product.
Use a separate Mic (boomed) with camera mounted mixer( ie. Beachtek) – $85+(batteries )
Pro’s – still not much to spend to get the mic close to your subject. You get to turn off the AGC. Better control of your sound. Good for close ups and fair to mid shots. Ambient sound is less of an issue.
Con’s – You need someone to boom – so another mouth to feed. Can pick up Boom Noise and/or inconsistent sound quality (still a really frustrating problem – happens with inexperienced operators not using the boom or mic properly). You can rent the wrong mic. You have to set an average for incoming sound (you don’t have anyone to adjust the levels) so in quiet parts you usually lose your sound or you distort with loud passages. No backup if sound fails. Some control over final product.
Use a separate Mic with mixer (Boom/Mix) – $150+(batteries )
Pro’s – You get to turn off the AGC. Better control of your sound as mixer/boom op can adjust mic or levels. Good for close ups and fair to mid shots. Ambient sound is less of an issue. Better control over final product.
Con’s – You need someone to boom – so another mouth to feed. Can pick up Boom Noise (wait till you hear it. Then you’ll know why this is a really frustrating problem) and/or inconsistent sound quality. What hurts the most is that you just spent a min. of $150 to hear crisp clear sound and you don’t always get it. You can rent the wrong mic. You have to learn how to operate the mixer. No backup if sound fails.
Use a separate Mic (boomed) with mixer OR with Sound Sync Recorder , no backup- $275+(batteries and Media )with ONE wireless
Pro’s – Separates Sound form Camera. You get to turn off the AGC. Better control of your sound as mixer/boom op can adjust mic or levels to a degree. Good for close ups and fair to mid shots. Ambient sound is less of an issue. Better control over final product. You get to do wide masters with sound.
Con’s – You need someone to boom – so another mouth to feed. Can pick up Boom Noise and/or inconsistent sound quality ( even still a really frustrating problem because you just spent a minimum of $150 to hear “boom Boom” – happens with inexperienced operators not using the boom or mic properly). You can either see or hear the wireless mic (this one is a real art form – placing wireless so you can’t hear or see them. Us Sound guys have tackle boxes filled with tricks and goodies to make this a reality). You can rent the wrong mic. You still have to set an average (because it is hard to mix and boom at the same time) you get more sound in the quiet parts. No backup if sound fails.
Use a separate Mic with Boom Operator + an Independent Mixer with a Sound Sync Recorder , no backup – $275 + media and batteries
Pro’s – Separates camera from sound – camera is now totally independent of sound. Absolute control of your sound as mixer and boom op can adjust mic or levels and tweak accordingly. Excellent for close ups and great from mid shots to wide. Ambient sound is less of an issue. You have total control of what your sound is as you have an operator monitoring what your final product is.
Con’s – You now have to feed two people. Camera must have SMPTE (time code) to work which can increase costs. Can pick up Boom Noise and/or inconsistent sound quality ( with inexperienced operators not using the boom or mic properly). You can rent the wrong mic. NEW you have Tape costs every day. Now digital is here but for safety you should have 2 recorders. Because when digital fails, it fails miserably.
Mixer and Boom Op with a SMPTE Sync recorder and Backup recorder with 2 Wireless – $400 + tape and batteries ( if your lucky a Time Code Slate otherwise add $50 day for slate)
Pro’s – Separates camera from sound – camera is now totally independent of sound. Better control of your sound as mixer and boom op can adjust mic or levels and tweak accordingly. Excellent for close ups and great from mid shots to wide. Ambient sound is less of an issue. You have total control of what your sound is as you have an operator monitoring what your product is. SMPTE references your entire shoot so editing is breezy. You get to use a time code slate.
Con’s – You now have to feed two people. You have to pay for a time code slate. Camera must be SMPTE (time code sync’ed) to work, which increases costs. You need an editor that knows how to work Time code. Can pick up Boom Noise and/or inconsistent sound quality ( with inexperienced operators not using the boom or mic properly). You can rent the wrong mic. Tape costs. Now you can go digital and for safety you should have 2 recorders – just in case. When digital fails it fails miserably.
Full Sound Kit $500(+) + expendables (tape, batteries and miscellaneous stuff for best sound) (Big Boy’s)
Pro’s – You usually get the works – including Comtek and wireless (Comtek lets you listen in on the sound that is being recorded and is a wireless system). Owner/ Operators are involved along with their expertise. You should also get a wireless mic system for those impossible long or wide shots (usually a min of 4 wireless plus a Time Code Slate). Total control – just like the big boys. You get it all.
Con’s- You pay for it.
Lastly, there are two parts to your projects Sound :
Production Sound (sounds recorded on set)
and
Post Production Sound (there are many different departments here from Sound Design, Foley, ADR Recording etc).
What I do is Production Sound. I don’t know of any Mixers or Boom Ops that do both Production and Post Production Sound for a living. They are fields of endeavor that have specific and very different challenges. They just don’t seem to cross paths professionally, don’t know why but they don’t.
That about wraps it up. Remember that none of this is absolute and the figures quoted are rough figures, some people charge more some less. Things are changing all the time in this industry. So if you have any further questions or comments please let me know. This will give you an idea of what is needed to rent the gear only. I will repeat this : This will give you an idea of what is needed to rent the gear only.
It is the one thing that you really can’t get away from – you need the gear to make it all work. You definitely can’t learn to mix in a day and you really can’t learn to boom in a day either – it takes time to really make a difference and to do the job right.
So in closing I would like to say that I would love to work with you. YOU just have to let me know in what capacity that you would like me to become involved – sound wise.
If you wish to book me give me some notice. This is what I do for a living . Sound is my job and I love my job. I hope that you can appreciate that.
Regards
Peter