You Be The Producer

audio

Terminology

Input: Receiving an audio signal. Also referred to as “mic in” or “line in.”

Output: Sending an audio signal. Also referred to as “mic out” or “line out.”

Level: The amount of audio signal produced by a microphone or other sound recording or playback device (CD, DVD, VCR, etc.).

Line Level: Audio input designed to receive sound from an electronically powered source such as a CD player, a VCR or a DVD player.

Mic Level: Audio input designed to receive sound from a microphone.

Troubleshooting

Line Out to Mic In Doesn’t Work: The audio from a line level source is too strong for a microphone input. Too much sound will be recorded and it will be distorted if a line level source is plugged into a mic level input.

Plugging a Microphone Into a Line Input Doesn’t Work: The audio level from the microphone is too weak to be used in a line level input. Little or no sound will be recorded.

Microphones

Camera Mic: The mic on your camera is good for picking up sound from all around the camera location. Use it to record choirs or the band. Don’t use it to record individuals because it picks up too much background noise.

External Mic: Any microphone that is plugged into your camera and moved away from the camera location. Use an external mic to get closer to the subject you are recording. The closer the microphone is to your subject, the less background noise you will get.

Hand-Held Mic: Any microphone you hold in your hand. These mics are useful for doing interviews because two people can share the mic. If you want to keep the talents’ hands free, put the mic on a stand.

Lapel Mic: A small mic that clips to a person’s clothing. It is useful when only one person is going to appear on camera, since it is difficult to share. It is also useful when the talent can’t hold a mic because he or she is demonstrating something.

Wireless Mic: A mic that uses a radio transmitter to send the sound from the mic to the camera. Both hand-held and lapel versions are available. This mic is especially useful when the talent has to move around the set.

Techniques for Making Common Sound Effects

Cornstarch in a leather pouch makes a good snow crunch.
An old chair can produce very controllable squeaking sounds.
A heavy staple gun makes the sound of gunshots. Warning! Do not use a real gun for gunshots. The concussive sound can destroy your microphone. It is even worse when you point the shotgun right at the mic.
Crumpling cellophane makes a crackling fire.
A large sheet of sheet metal suspended and shaken produces thunder.
Use a heavy rolled up and taped phone book or hit a raw chicken or turkey for punching sounds.
Break celery to create the sound of breaking bones.
Step on tape from an unraveled audiocassette to make a convincing substitute for walking in grass.

Gathering Sound Effects

You may already have a project list of the effects required for your upcoming production. You can record realistic one-shots by simply placing the microphone or camcorder where you normally listen to the sound. There is a huge difference in the sound of a telephone recorded at 6 inches away versus 6 feet away. To add to your sounds library, videotape the sound. As you edit, it’s simple to save each sound effect as a different file. Make sure you save the original in the highest quality possible (48kHz at 16 bit for DV), and the edited versions with different file names (cheer01, cheer02, etc.). This makes it easy to go back to the original source for every variation.

How-To: In your video editing software, capture the recorded sound(s) and place them on the timeline; export or save the audio only as a WAV, QuickTime or similar format file. Now you have a sound file that can be imported and placed on the audio track of your video project and effects can now be added to this sound file.

Remember to save or export the original sound before you distort or apply special effects to it.