Sound Production: Crash Course Film Production with Lily Gladstone #5

Summary

This script delves into the critical yet often overlooked role of sound in filmmaking. It explains the importance of sound recording and design, the functions of the sound department on set, including the sound mixer and boom operator, and the various microphone types and their applications. The summary also touches on the post-production process, from syncing sound to editing, and the collaborative efforts of sound designers, foley artists, and composers to create an immersive audio experience that enhances storytelling.

Takeaways

• 🎥 Poor sound quality can significantly detract from the viewer's experience, even in an otherwise entertaining video.
• 🔊 The audience primarily wants to hear the characters in a film, which is the responsibility of the sound department on set.
• 🎚 The Sound Mixer is a crucial role, providing equipment and recording all on-set sounds, including dialogue, sound effects, and room tone.
• 📡 Boom operators use a long boom pole with a microphone to capture sound, requiring knowledge of the script and actor movements for optimal positioning.
• 🎤 Lavalier mics are small body mics used on actors to capture their dialogue, complementing the boom operator's efforts.
• 🔍 Utility sound technicians assist with various tasks, including equipment maintenance and cable management, to ensure smooth sound recording.
• 🌐 Microphone patterns are essential for directing sound capture, with different patterns like cardioid and shotgun mics used for specific recording needs.
• 🎬 Post-production sound involves syncing audio with video, selecting the best sound takes, and using techniques like ADR to improve dialogue quality.
• 🎛 Sound editors play a vital role in choosing the best sound takes that align with the visual and narrative aspects of the film.
• 🎵 Sound designers, foley artists, and composers collaborate to create a rich auditory experience that enhances the film's storytelling.
• 🎞 The final integration of music and sound effects in post-production is crucial for solidifying the film's emotional impact and immersing the audience in the story.

Q & A

What is the role of a Sound Mixer in film production?

The Sound Mixer, also known as the Production Sound Mixer, Location Sound Recordist, Sound Engineer, or 'sound guy,' is responsible for supplying all the sound equipment for the production and recording all the sounds on set. They ensure the acoustics of each space are captured effectively to make the film's world feel real.

What is 'wild sound' in the context of film production?

'Wild sound' refers to any extra lines or noises that are intentionally created without the camera rolling, to be added into the movie during post-production. This helps in enhancing the film's auditory experience and making the world feel more authentic.

What is the purpose of room tone in film production?

Room tone is the atmospheric sound in a space filled with silent actors, crew, and set dressing. It helps sound editors make the world feel authentic and consistent by providing a baseline of ambient noise that can be used to fill in gaps where the original ambient sound was not recorded or is insufficient.

What is the job of a boom operator on a film set?

A boom operator, or boom op, is responsible for holding a microphone on a long boom pole over the actors to capture sound from everyone and everything in each scene. They must be familiar with the script and blocking to position the boom effectively while keeping it out of the camera's view.

Why are windscreens used with microphones during film production?

Windscreens are used with microphones to help record clean sound by reducing loud whooshing noises from the air. They muffle air being blown directly at the microphone without affecting its ability to pick up sound, which is crucial for outdoor filming where wind noise can be a significant issue.

What are the different microphone patterns used in film production and what are their uses?

There are several microphone patterns used in film production: omni-directional (records from all directions), bidirectional (picks up sound in front and behind), cardioid (picks up more sound in the direction it's pointed), subcardioid, supercardioid, hypercardioid (all more directional variations of cardioid), and shotgun mics (extremely directional, used at the end of a boom pole). Each pattern is chosen based on the specific needs of the scene and the desired sound capture.

How is sound synced with camera footage during post-production?

Sound is synced with camera footage using various methods. One traditional method involves using a slate clap, where the sound of the clapperboard closing creates a visual and audio cue that can be manually matched in post-production. Another method is timecode sync, where a digital slate sends a signal to the camera and audio recorder, recording the exact moment of the clap, which can then be used to sync the audio and video. A third method involves using a guide track from the camera's own audio recording.

What is Automated Dialogue Replacement (ADR) and why is it used?

Automated Dialogue Replacement (ADR) is a process where actors re-record their dialogue in a studio to replace or improve the original production sound. It is used when the original sound take is not of sufficient quality, or when additional dialogue needs to be added after filming.

How do sound editors contribute to the final film's audio?

Sound editors work with the best takes from production sound and may use additional recordings to ensure the best audio quality for the film. They make decisions based on story and actor performances, and their work is crucial in creating a seamless auditory experience that enhances the film's narrative and emotional impact.

What is the role of a Foley artist in post-production?

A Foley artist creates and records everyday sound effects that are added to the film in post-production to enhance the overall audio experience. This can include sounds like footsteps, door creaks, or glass breaking, which are often difficult to capture perfectly on set.

Why is music added at the end of the post-production process?

Music is added at the end of post-production because it serves as a finishing touch that solidifies the entire film's emotional tone and atmosphere. It is carefully integrated to complement the narrative and performances, and to heighten the audience's emotional engagement with the film.

Outlines

00:00

🔊 The Importance of Sound in Film Production

This paragraph discusses the critical role of sound in film production and how poor sound quality can detract from even the most engaging video content. It emphasizes the audience's reliance on sound to immerse themselves in the story and highlights the often-overlooked technical expertise and creativity required in sound recording and design. The paragraph introduces the sound department on set, which typically includes the Sound Mixer, Boom Operator, and Utility Sound Technician, each with specific responsibilities for capturing and recording all on-set sounds, including dialogue, wild sound, and room tone. The importance of microphone placement, windscreens, and microphone patterns for capturing clean and relevant sound is also covered.

05:03

🎥 Advanced Sound Techniques and Post-Production

The second paragraph delves into the intricacies of microphone types and their directional characteristics, explaining how different microphone patterns are suited for various recording situations. It covers cardioid, subcardioid, supercardioid, hypercardioid, and shotgun mics, and their uses in capturing sound from actors or hosts. The paragraph also explains the process of syncing sound with camera footage during post-production, detailing manual syncing using a slate clap, timecode sync with a digital slate, and the use of guide tracks. It further discusses the roles of the post-production sound team, including the sound editor, dialogue editor, sound designers, foley artists, music supervisors, and composers, and how they contribute to creating a rich and immersive auditory experience for the audience. The paragraph concludes by emphasizing the collaborative effort between the production and post-production teams to ensure the film's sound complements its visual storytelling.

Keywords

💡Sound Mixer

A Sound Mixer, also known as a Production Sound Mixer, Location Sound Recordist, or Sound Engineer, is the head of the sound department on a film set. They are responsible for supplying all sound equipment and recording all on-set sounds to ensure the film's audio authenticity. In the video, the Sound Mixer's role is emphasized as crucial for capturing dialogue, ambient sounds, and 'wild sound' to create an immersive audio experience.

💡Boom Operator

The Boom Operator, or 'boom op,' is the second-in-command in the sound department. They are tasked with holding a microphone on a boom pole to capture sound from the actors. The role requires a deep understanding of the script and actor blocking to position the boom effectively without being visible in the shot. The script mentions the boom operator's importance in capturing clean dialogue and other sounds from the scene.

💡Lavalier Mic

A Lavalier Mic is a small body microphone that can be attached to actors' clothing to capture their dialogue. It's an essential tool for the Boom Operator to ensure that the actors' voices are recorded clearly, even when they are not directly under the boom mic. The script illustrates the use of lavalier mics with the example of the narrator's own mic, which is not hidden.

💡Room Tone

Room Tone refers to the natural ambient sound in a space with no dialogue or action occurring. It is recorded to provide a consistent backdrop of sound for the film's environment. The script mentions room tone as an important element for sound editors to make the world of the film feel authentic and consistent.

💡Microphone Patterns

Microphone Patterns describe the directional sensitivity of a microphone, determining from which directions it picks up sound. The script explains different types, such as omni-directional, bidirectional, cardioid, subcardioid, supercardioid, and hypercardioid, each suitable for different recording situations on a film set.

💡Shotgun Mic

A Shotgun Mic is a highly directional microphone that is often used on the end of a boom pole. It is designed to pick up sound from a narrow area in front of it while rejecting sound from the sides. The script uses the shotgun mic as an example of how microphones can be adapted for specific filming needs, such as isolating dialogue from a specific actor.

💡Post-Production Sound

Post-Production Sound involves the editing and enhancement of audio after the filming process. It includes dialogue editing, sound effects creation, and music scoring. The script highlights the importance of post-production sound in deepening the viewer's experience and making the movie the best it can be.

💡ADR (Automated Dialogue Replacement)

ADR, or Automated Dialogue Replacement, is the process of re-recording dialogue in a studio to replace or improve the original production sound. The script mentions ADR as a common practice when the on-set sound is not of sufficient quality, with actors like Meryl Streep enjoying the creative possibilities it offers.

💡Sound Designer

A Sound Designer works with the sound mixer and foley artists to create the sound effects that enrich the film's world. They are responsible for the auditory details that make the film's environment feel real, from natural sounds to more fantastical effects. The script describes the role of the Sound Designer in making the film's world feel whole.

💡Syncing

Syncing is the process of aligning audio with video footage to ensure that the sound matches the visuals precisely. The script explains various methods of syncing, such as using a clapper board, timecode sync with a digital slate, or guide tracks from the camera, which are crucial for post-production sound work.

💡Foley Artist

A Foley Artist is a specialist in the post-production sound process who recreates everyday sound effects that were not recorded on set, such as footsteps, door slams, or pouring liquids. The script mentions foley artists in the context of working with sound designers to create a rich and immersive soundscape for the film.

Highlights

Bad sound can make even the most entertaining YouTube video frustrating for audiences who rely on audio.

Good sound production is often unnoticed but is as crucial as visual storytelling.

The Sound Mixer is responsible for recording all on-set sounds and supplying sound equipment.

A good sound mixer captures unique acoustics of every space to enhance the film's realism.

The Boom Operator uses a long boom pole with a microphone to capture sound from actors.

Lavalier mics are small body mics used on actors to capture their dialogue.

Room tone, the atmospheric sound in a space, is essential for creating an authentic film environment.

Utility Sound Technician assists with equipment maintenance and other sound-related tasks on set.

Microphone windscreens are used to record clean sound and reduce unwanted noise.

Microphone patterns determine the direction and quality of sound capture.

Omni-directional mics record sound from all directions, suitable for round-table conversations.

Bidirectional mics are ideal for interviews or duets with sensitivity in front and behind.

Cardioid mics are commonly used for capturing dialogue from one person at a time.

Subcardioid, supercardioid, and hypercardioid mics offer varying degrees of directionality.

Shotgun mics with an interference tube provide highly directional sound capture for boom poles.

Syncing sound with camera footage is crucial in post-production and can be achieved through various methods.

Timecode sync and guide tracks are modern methods for efficient audio-video synchronization.

The sound editor plays a key role in selecting the best sound takes that enhance the film's narrative.

Automated Dialogue Replacement (ADR) is used when on-set sound is insufficient.

Sound Designers, foley artists, and composers collaborate to create a rich auditory experience in films.

The process of sound production and post-production is integral to the emotional impact and immersion of a film.

This episode of Crash Course Film Production explores the intricacies of sound in filmmaking.

Transcripts

You know what can make even the most entertaining YouTube video really frustrating?

Bad sound.

That is, for audiences who don't rely on closed captioning.

Like, what if my voice was all garbled with static, or if my words weren’t synced up

to the video right now?

Annoying, right?

You might look away from a screen if the visuals are jarring, but you pretty much always hear

a film – whether it’s dialogue that was recorded on set, or a sweeping score added

in post-production.

And the sad thing is: you don’t often notice really good sound recording and design.

Even though it takes just as much technical know-how and artistry as visual storytelling does.

When sound production is most successful, you’re not thinking about the quality of

the sound at all.

You’re feeling it.

You’re pulled into the story and living in the world of the film.

[Intro Music Plays]

Let’s start with the basics: the audience is gonna want to hear the characters they’re watching.

And that all starts with the sound department on set, which is usually a small crew of two

to three people.

Its head is the Sound Mixer, also known as the Production Sound Mixer, Location Sound

Recordist, Sound Engineer, or just the “sound guy.”

This person usually supplies all the sound equipment for the production, and is responsible

for recording all the sounds on set.

Every space has unique acoustics, so a good sound mixer will try to record as much as

possible to make the world of the film feel real.

That includes the sounds actors make in the scene being filmed – like dialogue...

Batman: Where's Dent? Joker: Those mob fools want you gone so they can get back to the way things were.

Joker: But I know the truth. There's no going back.

Joker: You've changed things... forever.

...slurping their tea...

[slurp]

...or foot stomps as they jog down a street.

[footsteps as Marion chases Indy]

Plus, it includes wild sound, which is any extra lines that are said or noises that are

intentionally created without the camera rolling, to be added into the movie in post-production.

And lastly there’s room tone, the atmospheric sound in a space filled with silent actors,

crew, and set dressing.

Having room tone helps the sound editors make the world feel authentic and consistent.

The sound department’s second-in-command on set is the boom operator, or boom op, for short.

This is the person you’ll see holding a microphone on a long boom pole out over the actors.

Actors will often have small body mics, also known as lavalier mics,

This is mine... it's not hidden.

But the boom op is working to capture sound from everyone and everything in each scene.

To do their job well, they have to really know the script and the blocking, or how the

actors will physically move through a scene.

That way, they can position the boom in the best place to pick up sound, while keeping

the mic and its shadow out of the camera’s view.

On larger sets, there might be a third person on the sound crew: the utility sound technician,

also known as the second assistant sound.

This person helps with a bunch of stuff, like: equipment maintenance, mic placement, cable

management, keeping everyone quiet while filming, or even operating a second boom.

Now, I already mentioned the two main mics you’ll find on a film set: the boom mic

and the body mic.

But you have to think about a lot more than just where you put a microphone.

When you’re speaking, you’re pushing air through your vocal folds out into the world.

That vibrates other air molecules, making sound waves.

So, microphones nearly always have a windscreen to help record clean sound, and not just loud,

whooshing noises from the air.

It muffles air being blown directly at it without affecting the mic’s ability to pick up sound.

A small windscreen is usually enough on an enclosed set, or on a soundstage, like this one.

Outdoors, you might need more intense windscreens.

And here’s a perfect example of how great film crews are at naming things:

The big ones are called dead cats… because, well, just look at them.

The sound department not only has to make sure they’re recording good sound, but they

have to pay close attention to what they don’t want to capture.

And they can do that with microphone patterns.

A microphone pattern is a shape around a mic where it picks up sound best, and there are

a few standard types.

Just like the camera department has to change lenses, the sound department might have to

change mics from scene to scene.

First, you have omni-directional mics, meaning the mic is recording sound coming at it from

every direction.

There are a lot of situations where this is ideal, like for recording a conversation where

people are sitting and talking all around a table.

But on a set, you only want to hear the actors on camera, and not all the crew behind the scenes.

So this mic wouldn’t be the best choice.

Bidirectional mics pick up sound directly in front of and behind them, while rejecting

sound coming from the sides.

Their sensitivity pattern looks kind of like a figure 8.

These mics are useful for interviews or duets – any time when two people are directly

across from each other, with the mic in the middle.

Then, there are cardioid mics, named because their pattern is kind of shaped like a heart.

They pick up more sound in the direction you’re pointing them, plus a little bit from behind

and on the sides.

A cardioid pattern is good for recording lines from one person at a time, up close.

So lavalier mics – the ones physically attached to actors – are usually cardioid or omnidirectional.

If you want something a little wider than a typical cardioid, but not as wide as an

omnidirectional, there are subcardioid mics.

Or, say you’re trying to record a conversation where a bunch of people are huddled together

and talking.

So you have several mics near each other, and you want each one to only pick up one person.

In this case, a supercardioid or hypercardioid might be your best options, because they have

even more directional pickup.

But the downside is that they also have more sensitivity directly behind them, so they

can pick up things you don’t want to hear in the final film, like chatter from the crew.

If you need something even more directional, like for the end of a boom pole, you can put

something called an interference tube over a supercardioid or a hypercardioid mic.

This ideally makes unwanted sound waves from the sides cancel out, and creates a lobar

pattern: you can aim them more precisely, and pick up sound from farther away.

Because these mics are long and narrow, they’re called shotgun mics.

So on a typical set, there’s probably a shotgun mic on the boom pole, and a handful

of lavaliers on different actors or hosts.

Each of those microphones is picking up part of the overall sound in a scene, and each

one feeds into its own track on the audio recorder where the sound mixer is.

There, the sound mixer can adjust the mic sensitivity and the recording levels.

So in the final film, the audience can hear a soft whisper...

Gandalf: Fly you fools.

...and understand loud shouting.

Stansfield: Benny? Bring me everyone.

Benny: What do you mean, "everyone?"

Stansfield: EVERYONE!!!

And all this is just production sound!

We still have a whole world of post-production to explore.

Before editing anything, the very first thing you need to do is sync the sound with the

camera footage.

And if you prepare during production, it’s pretty easy to do.

Remember the 2nd AC?

They’re responsible for the slate, which marks each take with both a visual and an

audio cue.

To help keep track of media, the scene, shot, and take number are written on the slate for

the camera to see, and are called out for the microphone to hear.

Nick: Scene 21 take 25!

And then, the 2nd AC claps the slate shut.

If you don’t have a slate, you can clap your hands in front of the camera and the

mic to get the same effect.

[clap]

The goal is to make the audio levels spike, while the camera catches the exact moment

the clapper and the board of the slate come together.

That way, in post-production, you can manually match up that audio and visual cue and...

voilà!

Your sound is synced.

If you want a faster way of syncing audio and video, we’ve got you covered too.

One way is through a timecode sync, if you’re using a digital slate.

The moment the clapper hits the board, a signal is sent from the slate to the camera and the

audio recorder.

And the timecode of this exact moment is recorded on both devices, which you can use to sync

everything up.

The second way is if your camera is recording audio too, which won’t be used in the final

mix, called a guide track.

That way, in your editing software, you have your video footage, camera sound, and sound

from the audio recorder.

And an audio waveform sync program can match them all up.

Typically, an assistant editor syncs up the sound with the visuals, and then the editing

team cuts together the film.

Once the film editor and director agree on a picture lock, meaning the visual and story

edit of the film is finalized, it’s time for the post-production sound team to get to work.

Like the film editor, the sound editor makes decisions based on things like story and the

actor performances.

The best takes for camera aren’t always the best takes for sound, though, technically

or artistically.

And it’s up to the sound editor to make sure the best sound takes for the film make

it into the final mix.

On a bigger film, some sound editors will be dedicated dialogue editors.

Like the name suggests, their job is to cut for the best dialogue from production sound.

Ideally, the audio and video from the same take will both be great.

That makes their job easy.

Often though, the dialogue editor has to borrow sound from other takes or wild sound, and

sync the best takes for sound with the best takes for camera.

This only works if the audience can’t tell it’s been done, like if the camera is on

another character, so it takes a lot of skill and creative editing.

If there’s not a great sound take, the crew will bring actors back into a studio and do

some Automated Dialogue Replacement, or ADR.

Some actors relish ADR.

Meryl Streep famously loves it because mixing separate visual and audio performances can

add complexity to what her character is conveying.

Of course, dialogue isn’t the only sound in a film.

Sound Designers work with sound mixers and foley artists to create the sound effects

that make the world of the film feel rich and whole, from birds chirping

to the *pew pew* of lasers.

And music supervisors and composers work with the director to either curate or create the

music of the film.

Adding music frequently comes at the end of post-production.

And when it’s done well, it’s the finishing touch that solidifies the entire film and

brings it to life.

From an actor’s whispered lines to the final score woven throughout a film, sound helps

us go from watching a story with relatable characters, to feeling what they feel and

living in their world.

Today we learned about all the artists involved in production sound, and how different microphone

patterns are best for different situations.

We talked about the importance of post-production sound and the role it plays in deepening our

experience of a film, and making the movie the best it can be.

Next time, we’ll talk about the people who see everything, from the bigger picture to

tiny details that could get overlooked on a film set: producers.

Crash Course Film Production is produced in association with PBS Digital Studios.

You can head over to their channel to check out a playlist of their latest amazing shows,

like PBS Infinite Series, Physics Girl, and Reactions.

This episode of Crash Course was filmed in the Doctor Cheryl C. Kinney Crash Course Studio

with the help of these nice people and our amazing graphics team is Thought Cafe.