SOUND

PREP IN PRE-PRODUCTION

Sounds on the screen need to be just as convincing as the actors performances.  For instance, if actors are jogging in a park, dancing in a club, sitting at a table, hanging over a bridge, etc., etc...there are different forms of microphones that will benefit these various environments and actions. Some sound may require plugs/outlets while others require battery power. Research where needed.  What type of microphone is best in this environment and will not be noticed? Do you have enough batteries? How long do they last? Knowing these key questions will make the production process flow that much more smoother. Additionally, it will help your department as well, with a system of what you need during the production "be ready" with it and have things on hand. 

FURTHER SHINING YOUR TALENTS IN PRODUCTION

Make sure the correct boom microphones, lavalieres, etc. are there in the studio or on location.  The sound recorded must capture the dialogue and not the noise in the environment/background that could drown out key words the characters speak out.  From experience, this is not cool when you spend time on a location and you get to the editing room and realize that the background was louder than your voice! Uggggh!!!! Where there is more than one character in a scene speaking, their levels typically need to be the same and not one person’s mic overriding the other. 


Adjust and test the mics in advance that will emphasize and highlight each sound in the forefront and background of every scene.

Recording in a studio can capture the most sounds with ease.  Make sure the microphone is for the type of sound you need.  When I recorded vocals in a music studio, I had to stand like a statute but sing with energy.  If I even rubbed my hand on my lap, the microphone picked it up.  For music, soundtrack, this was fine.  For a scene with numerous actors and crew, another microphone, such as a boom mic, works best.

POST POST WRAPS UP THE MOST

Here, the Director and Editor are fine-tuning for clarity and volume levels.  How many scenes or points of dialogue did you have to rewind (if on your computer, tv or phone)?  Everyone is asking, "What did they say?"  It could be pertinent to the story.  During production, the Director and DP listenes for clarity in every word spoken or sound made for the scene.  If some things have issues in the end, the Director can work with the Editor in different ways.  Sometimes actors may be called in to record over.  Sometimes it's easy where it sounds like it's on the set.  Other times, you have to be very cautious and pick up the same tone as you did when you were on location or in the studio.


Sometimes, the equipment didn't complete recording the scene.  If this has happened, calling back in the talent may be needed.


When the sounds are in tune and complete, this can be considered a wrap in this area.