PRODUCTION SOUND ESSENTIALS

(Or How Eggs should be Sucked)

Robert Allen's mind meanders after fifty years recording sound for Motion Pictures.

READ AND UNDERSTAND THE SCRIPT ditioning in building can be controlled during takes.
Location Managers should see to this, but rarely do.
Check surroundings to see where Generator can be
Re-read script considering sound requirements. Un- parked to ease sound problems, but not inconven-
derline or highlight any sound effects or sound di- ience electricians with long cable runs. The Location
rections mentioned in the scene descriptions. Note Manager should be informed of the position. Gen-
down any sound effects atmosphere tracks or sound erators are blimped, but the amount of noise reduc-
ideas you may think useful for the final sound track. tion varies from machine to machine. Electrical
Crews dislike parking the Generator more than one
cable length from the set. Do not let them bully you,
ASSESS THE DIALOGUE put the Generator where it won't cause problems.

Is it interior or exterior? Are any of the scenes in Make sure that other outfits like wardrobe and
noisy locations such as factories, busy city streets or make-up wagons, who usually have Honda Genera-
beaches with surf? These may require the use of tors on board for lighting and heating, are either
radio microphones so count the number of artists in suitably parked or arrangements made for shutting
each scene in order to know the number of channels off the Generators during takes.
needed.

DECISIONS - DECISIONS
Are there any musical numbers in the script that will
have to be pre-recorded? If so, provision of synch
playback will be needed on set. If music is to be • Is picture to be shot on Film or Video?
recorded on location, synch playback equipment will • l6 mm or 35 mm?
still be needed. • 24 fps or 25 fps?
• Is sound to be mono or stereo?
MEET WITH THE DIRECTOR TO DISCUSS THE • Is sound to be analogue or digital?
SCRIPT • Is synch to be crystal or time code?
• Is dialogue to be recorded mono or stereo?
• Is post-production to be non-linear or ana-
Find out his ideas about the sound on his/her pro- logue, using sprocketed film?
duction. Is there anything special not obvious in • Where is film to be re-recorded to make final
script? Try and assess his/her attitude towards track?
sound and its use. • Where is sound to be transferred and to what
system?
INSIST ON GOING ON LOCATION "RECCE" FOR
BOTH INTERIORS AND EXTERIORS REGARDING STEREO

Carefully listen for noise sources that will cause It is recommended that all production dialogue be
problems. Assess the amount of heavy traffic, air- recorded mono. Atmosphere effects tracks and
craft flight paths, air conditioning in buildings and crowd tracks should be recorded stereo, but car up
poor acoustics on interiors. If chosen locations are and past tracks are probably best recorded mono
going to be extremely difficult for obtaining good and the positioning of the vehicles done at the re-
direct sound endeavor to persuade the Director to recording session. Car interior effects should be re-
choose a quieter alternative. Make out a report for corded stereo. Spot sound effects, such as doors
Director and Producer outlining your reasons for the telephones, typewriters, are best recorded mono.
unsuitability of such locations. During recce, contact
building supervisors to check if activity and air con-

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TV production companies often insist dialogue is there are atmospheric noises, even in the so-called
recorded stereo, saying that it can be mono-ed if it quite countryside. Shooting interiors on location
doesn't work or causes problems during the re- gives little relief and even on a studio sound stage
recording process. the Sound Crew cannot relax, the general ambience
of even a well-disciplined shooting crew standing
around the set or "keeping out of the way" has to be
Cinema stereo standards require clear intelligible
watched.
dialogue in mono. The Dolby standard is for dia-
logue to be centre screen, or wide shots it may be
panned slightly left or right as required. The Sound Crew's job is to get the very best "signal
to noise" ratio possible, the signal being the dia-
logue and the noise the atmosphere in which the
ANALOGUE OR DIGITAL? dialogue is being recorded.

Present day fashion is to record digital sound as it is The best possible way to ensure acceptable signal to
considered to be better quality. However, as the dy- noise is to get the microphone in a suitable position,
namic range is considerably greater than analogue usually as close as possible to the dialogue source.
magnetic and as the final mixed track will probably This position is limited by the edges of the picture
be on analogue magnetic or photographic, care frame.
should be taken not to exceed the analogue dy-
namic range too greatly. There is now, however, a The best dialogue sound is that recorded using a
chance the final track may be a digital photographic microphone of professional quality, skillfully handled
one. by a Boom Operator using a microphone boom or
hand pole.
Whatever system of recording is chosen, the ma-
chines available are all capable of producing excel- The traditional way is for the Boom Operator to sus-
lent quality and operation of them is reasonably pend the microphone just clear of the picture frame
straightforward. line above the heads of the artists. From this posi-
tion he favors the sensitive side of the microphone
towards the artist speaking. The microphone may
IN GENERAL
be required to pan following an artist and to be
raised or lowered as the camera tracks in or out. In
Professional microphones, along with suitable shock this way, the microphone picks up the sound in per-
mounts and windscreens, are also capable of excel- spective with the action covered in picture, creating
lent quality sound, as are the professional multi- a realistic effect.
channel microphone mixer units at present avail-
able. When recording dialogue, it is important that it is
intelligible and clear of noises created by props,
Poor sound quality is rarely the fault of properly doors shutting, footsteps etc. Noises such as these
maintained professional equipment. It is usually due are more than likely to be out of balance with the
to lack of experience and sometimes, in the case of level that the dialogue is being spoken at.
student production, lack of interest in the task of
recording sound. It is therefore necessary for the Sound Crew to en-
deavor to see that the noises are minimized. This
There are of course often occasions where the re- may be by covering the artists shoe soles with soft
cording of satisfactory dialogue quality is prohibited rubber material or felt, putting down carpet runners
by the level of extraneous noise on the location. It for the artists or crew to walk on, tape on the bot-
could also be because the type of noise, e.g. traffic tom of cups and saucers. It may also be necessary
or aircraft, is incompatible with the period of the to ask, via Director, cooperation of artists to avoid
photoplay. In these cases, the Sound Crew should speaking over door shutting and being light-handed
record as good quality as possible so that the sound handling crockery, cutlery and other props. All re-
may be used as a "guide track" for the artists to quests for cooperation from artists, including using
"post synchronize" to when the sound is being re- more voice, should be made via Director.
corded during the "Automatic Dialogue Replace-
ment" (ADR) session in a sound studio. Dialogue recording should never be attempted
single-handed. There should always be a minimum
With synch shooting, there is always a level of am- crew of two. In charge of recording and responsible
bience the Sound Crew has to contend with. Shoot- for the quality of sound is the Production Sound
ing on exterior locations it is fairly obvious that Mixer. He is assisted by the Boom Operator whose

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job it is to get the microphone in the right place at It must be remembered that successful results with
the right time. radio microphones require quite a deal of skill, ex-
perience and attention.
Many think that the Boom Operator's job is trivial
and can be done by anybody who happens to be Using one or two channels is fairly straightforward,
spare. Ask any Production Mixer working on dia- but above that number, besides the dexterity re-
logue pictures and they will most assuredly tell you quired by the production mixer to handle the re-
that their results are only as good as the Boom Op- cording levels and monitor the sound quality, there
erator's skill will allow. Ask Directors of Photography are radio transmission problems to be considered. It
and Picture Camera Operators and they will both must be ensured that the transmission frequencies
agree the need of a Boom Operator who knows of all channels in use are compatible in order to
what he/she is doing. avoid interaction amongst them.

For the Boom Operator, knowledge of basic film Present day state of the art radio microphone chan-
lighting techniques is necessary to understand how nels, using diversity systems, are capable of elimi-
to avoid casting boom and microphone shadows on nating most of the problems encountered with RF
artists and set. A knowledge of lens sizes and ac- transmission. However, great care must still be
ceptance angles is necessary to understand the taken with the microphone part of the system.
frame limits in order to keep the microphone as
close as possible to the artists, but clear of picture.
The fitting of personal microphones to actors and
actresses must be done with great respect for the
The addition of a third person to the Sound Crew person and great care with the fitting. Artists should
can be an asset and well worth the possible extra be politely informed that radio mics will be neces-
(not large) cost. The ideal third person is a mainte- sary and arrangements made with the wardrobe
nance engineer who is willing to do "dogs-body" crew for assistance in fitting.
work as well as look after the well being of all the
sound equipment. The mentioned "dogs-body" work
In fitting the miniature personal microphone, care
consists of doing second boom when required, han-
should be taken to ensure that it is not covered with
dling cables on tracking shots, setting up equipment
heavy clothing and is clear of clothes rubbing on it.
and shifting and packing it, operating playback and
The transmitter must be securely fixed so that it is
public address equipment when required, filling in
immovable during action and the aerial must be
tape log sheets, maintaining supplies of tape and
separated from the microphone lead. The transmit-
batteries. All these jobs exist and if a third person is
ter, as also the microphone and leads, must not be
not employed they have to be done by the Produc-
visible.
tion Mixer and Boom Operator, which detracts from
their concentration and efficiency for the job of ac-
tually recording. If radio microphones are used for TV interviews or
on TV presenters, then with the Director's permis-
sion the miniature microphones used may be
If the budget will not allow for a qualified Mainte-
clipped or pinned to exterior clothing. This will re-
nance Engineer, then an intelligent trainee who is
duce the clothes rustle problem, but care must be
keen to learn the movie sound business will, if given
taken to ensure that the microphones are fitted
instruction and encouragement by the Mixer and
neatly and as unobtrusively as possible, remember-
Boom Operator, prove a valuable asset to Sound
ing to keep microphone lead and aerial separate.
Crew, Director and Producer.

Radio mics should be regarded as an extra tool and

RADIO MICROPHONES not considered as a be all and end all to the prob-
lems encountered recording dialogue for motion pic-
tures.
On occasions, when usable sound cannot be ob-
tained by use of a boom microphone due to extra
wide camera angles, high levels of extraneous Directors of Photography, Picture Camera Operators
noise, low ceilings on location interiors, dialogue would prefer Sound Crews to use radio microphones
scenes where actors photographed on the end of all the time. They save the DOP worry of lighting to
long lenses are inaccessible, or any other situations eliminate boom shadows, Cameras Operators the
where a boom microphone is impractical, radio mi- need to watch for microphones coming into the pic-
crophones will need to be used. ture frame and Directors the worries of these prob-
lems occurring. Their problems are eased by adding
to the problems of the Sound Crew.

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Another point to be remembered is that sound per- tors are compatible with input sockets on re-
spective is lost when personal microphones are used corder and mixer, if used.
for dialogue. The artists' voices are always in "close- • Check all main and other inter-connecting ca-
up" regardless of their distance from camera. This bles for good order and compatibility. If re-
lack of perspective can be corrected to some extent chargeable batteries are used, make sure suit-
in the re-recording process, but it is difficult to rec- able mains charger is supplied with kit and that
reate the feeling of reality obtained by conventional Nicads are in good condition.
microphone techniques. However, if usable sound • Make sure that reasonable supplies of spare
using conventional techniques is not possible, then batteries are supplied.
it is better to have usable radio microphone quality
• Check that number of rolls of tape or DAT cas-
than to have to resort to Automatic Dialogue Re-
settes requested have been supplied and that
placement (ADR).
the stock is of the correct type and all of the
same manufacturer's batch number.
If a two track or multi-track recorder is being us-
ed,then placing each radio channel on its own tack
could be of aid in post-production. When multi- IF RADIO MICROPHONES ARE RENTED
tracking, the balance of voices and recorded levels
must be made as if they were being mixed on to
one track. With multi-tracking it is most important • Make sure that radio microphones channels
to log what is recorded on each track so that post- supplied are all frequency compatible and le-
production personnel are able to make efficient use gal.
of the material. • Check that each channel supplied is complete
with transmitter, receiver and aerials for both,
along with lead to connect receiver to recorder
When only a two-track recorder is used, it may be
or mixer.
useful to record the boom mike on one track and
the mixed balanced radio mics on the other. • Check that suitable miniature microphones are
supplied, along with fixing clips and pins.
• Set up radio mics, testing each channel by
An atmosphere wild track should always be recorded making short recordings of a person walking
in the area where the action takes place. This about with microphone and transmitter and
should be done using the boom microphone. talking.

TAKING DELIVERY OF RENTED EQUIPMENT EXTRA EQUIPMENT

• Ensure recorder is in good working order. • If multi-channel microphone mixer unit is to be

• If recording using Nagra analogue machine, used, check that it is in good working order
establish that the bias and equalization are set and that equalization controls are understood.
correctly for the type of tape to be used. • Check that mixer/recorder interconnecting lead
• Ask renting company proof that machine's re- is included.
cord and replay frequency responses are up to • Mains units for recorder and mixer should also
manufacturers specification. be supplied, even if all shooting is to be on ex-
• Make test recording and play back, checking teriors. They will be needed for battery charg-
that synch pilot is recording and that record ing.
and replay levels line up. • If a mixer is to be used, then it is advisable to
• Check that there is a spare take up spool in- have a suitable trolley, stand or cart to mount
cluded. the mixer and recorder on.
• Check that type of microphones requested
have been supplied and are in good condition
and working order. START OF THE DAY
• Check that all microphone accessories such as
shock mounts, windscreens, hand poles, have
• On arrival at location ascertain when first
been included and that all threaded fixings are
shooting is to take place.
compatible.
• Unpack and set up equipment in vicinity of
• Check that sufficient microphone extension
shooting area.
cables, to meet the needs of production, are
supplied and ensure that all are in good order, • Check through equipment to ensure all is work-
including connectors. Make sure that connec- ing correctly.
• With º analogue equipment, check heads are
clean.

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• Load recorder with tape. DO'S AND DON'TS (not necessarily in Order of
• Record reference line up tone. Importance!)
• Record verbal identification of production and
roll number.
• If used, set timecode to correct frame rate and
• DO

time. Set User Bits to an agreed format. • Read and understand script.
• Make out tape report sheet. • Ensure you have all the right equipment for the
• Play back above recording and check for qual- assignment.
ity, equality of record/replay levels and that • Ensure all equipment is in good working order
synchronization system is working. and performing to specification.
• Check that microphone is OK and that suspen- • Ensure for analogue, the recorder is biased and
sion and pole are free from rattles and noise equalized for type of tape to be used.
when handled. • Protect equipment from heavy handling and
• When re-loading machine during course of day, excess vibration in transit.
heads should be checked for dirt and the line • Protect equipment from climate excesses.
up/identification procedure followed, as above. • Make sure picture and sound synchronization
• A separate sound report sheet should be made used during production will be compatible with
out for each roll or cassette. transfer and post-production requirements.
• Keep all microphone cables neatly coiled when
not in use.
HINTS AND TIPS
• Always replace equipment in correct boxes.

• Know what has to be recorded.

• Keep abreast of what is going on. • DON'T

• Don't have to be told what to do. • Attempt drama dialogue recording single-
• Think ahead. handed.
• Be sure you have the equipment necessary. • Attempt to record exterior sound with the mi-
crophone not in a suitable windscreen.
• Never attempt recording drama dialogue
single-handed. • Over record when recording, especially when
using digital equipment.
• Listen out on rehearsals for noises made by
actors that interfere with intelligibility of lines • Under record when using either digital or ana-
and see that they are eliminated where possi- logue.
ble. • Leave equipment lying about.
• Listen carefully for other extraneous noises, • Leave equipment out of sight on location.
especially those made by the crew, and elimi-
nate.
• Make sure all dialogue is intelligible, good qual- • ALSO Essential
ity, and recorded at a good level.
• If there are problems, make sure Director and Besides being sure all equipment to cover the as-
Assistant Director are aware and that you are signment is to hand, ensure that your kit includes
taking steps to correct them. basic maintenance tools such as:
• Keep clear, detailed records of all takes and
clear indication of those takes to be trans- • Pliers and Side Cutters
ferred. It is almost impossible to give post- • Screw drivers (medium and pocket)
production crews too much information.
• Test meter
• Record atmosphere tracks on all locations.
• Soldering iron and solder
• Record sound effects that you consider will be
• Camera tape 1/2" and 2".
necessary and useful for post-production.
• Record wild tracks of any lines of dialogue you
feel were unclear during a take. TRAVEL TO LOCATIONS
• Always be pleasant but firm about the needs of
the sound track.
The production mixer will normally be responsible
for arranging transport for equipment and crew to
locations. Directions to locations must be clearly
understood and time of journey estimated, allowing
for possible hold-ups. Always plan to get there a

5
minimum of 15 minutes before the actual call time.
Be sure you know the date and time of call and the
scene that are to be shot that day.

PERSONAL

• Be sure you will be comfortable at all times.

Personal discomfort hinders clear thinking and
inhibits efficiency.
• Provide yourself and advise crew members to
have suitable rainwear (shooting can continue
in the rain).
• Wear warm clothing and head gear for winter
or night shooting.
• Wear footwear should be suitable for location
being worked, e.g. gum boots for wet and
mud, tennis or boating shoes for swimming
pools, good boots for countryside.
• Try and have a good breakfast before leaving
home or hotel.
• If you must smoke, take sufficient fags or to-
bacco to last you a long day.
• Keep a chocolate bar or apple tucked away in
case of long breaks between meals.
• In other words, look after yourself - no
one else will.

REMEMBER

• Poor sound quality is not the fault of properly

maintained professional recording equipment.
• Best natural dialogue quality is recorded using
microphone on boom or hand pole.
• It is the responsibility of each crew member to
know what the call is for each day. If you fail to
get a call sheet, find out why. "I didn't know" is
no excuse.
• The worst words a sound recordist can hear
are a member of the audience saying, "What
did he say?"
• Since talking pictures took over from the silent
70% to 80% of communication in a movie is by
means of the sound track. Try running a film or
video with the sound off. This fact makes your
job an important one.

ROBERT ALLEN, AMPS