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Music, Sound, and Audio Technology
Audio Recording in the Great Outdoors
By Staff
posted Aug 3, 2009, 15:02 |
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Click here to get a copy of the October 2006 Edition, so you can read and enjoy all of the excellent articles inside. Check out this article in the October 2006 print edition of StudentFilmmakers magazine, page 38.
Ways in Minimize Extraneous Noise
by Bryant Falk
One of the most challenging types of audio recording is
when the shoot takes place outside. Numerous variables start
showing themselves. From car traffic and wind noise to ocean
waves, leaf rustling, and rain. One of the worst modern audio
culprits today is the jet airplane!
Keeping all this extraneous noise out of your shotgun mic
can be a daunting task. Here are a few hints to help minimize
potential audio problems as you head out into the great
outdoors.
The first thing is to create as many options as is reasonably
possible on your shoot. Wireless lav mics for on location talent
and boom mics will give you more options once you�re in the
edit suite.
The first largest outdoor audio issue to tackle is wind noise.
Even on the sunniest, most beautiful day ever, you can have
wind noise challenges. Make sure to have a number of different
windscreen options for your boom mic. These wind reducers
also known as �Zeppelins� or �Blimps� come in many shapes
and sizes. One type you may have seen is the furry �Fuzzy�
or �Mic Muff� windscreen. This type of filter gives you good
protection against wind noise getting into your shotgun mic.
Other items good to have in your inventory are sound
blankets. These are dense fabric material that can be used
to cover noisy audio sources such as power generators or
refrigerators, (and even if not in the shot, compressors can still
make a lot of noise!).
A short film called, �Winter,� (directed by Dan Seeley)
takes place in a very remote location. Many of the audio issues
touched upon in this article needed to be addressed on the set
of �Winter�. Since much of the shoot did take place at night,
what they had to deal with was those pesky generators for the
lights.
The crew employed two techniques. The first was the sound
blankets over the generators, and the second was distance,
getting the noise source as far from the shoot location as
possible. Heavy duty extension chords or �Stingers� were used
to deliver the power from the generators to the lights.
Unfortunately, some noise, such as flying �jets� overhead,
cannot be controlled as easily. One recent challenge was when
I had to record a cooking show next to a lake with power boats
going by. It took us three times longer counting the breaks from
filming to get what we needed, but we did it.
So, as you�re heading into the great outdoors, keep an ear
out for those extra sounds that may not be so welcomed in the
audio suite. Be prepared with ways and options to minimize
potential audio challenges when you�re shooting outside.
This article may not be reprinted in print or internet publications without express permission of StudentFilmmakers.com.
Bryant Falk has been a producer and engineer for over 12
years working with such clients as The Ricki Lake Show, Coca-
Cola, Sports Illustrated, Valley National Bank, and MTV�s
The Shop. His company Abacus Audio (www.abacusaudio.com) handles many aspects of the audio production field from
creative and production to mixing and final output.
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