HD Sound
the video perspective
OK. I'm a DP, so what do I know about sound?
Well I've learnt a lot from working for 20 years with the best location sound recordists on the Planet. I've become accustomed to working with their sound being recorded on my camera. I'm simply suggesting that the way we have worked in fast turn around low budget dramas is a suitable approach for low budget features.
My view at the moment is that for low budget work, unless there is lots of steadycam then single system sound will enhance the overall production value, through the time and money saved on location and in post. This is the similar way of working that is used throughout Europe on low budget dramas and soaps originating on digibeta.
For higher budget work the traditional film style system is being made to work, sometimes without any consideration for the fact that the camera is not a film camera!
The following comments make sense at the moment for budgets below (arbitrary) $2 million.
There are occasions when these ideas will not work, they should be discussed!
As has been said before, HD is hardly a well thought out system. All departments are learning how to make the most of the system without it affecting their investment in existing equipment or lowering the standards of their craft and oh, no one wants to screw up by using new technology!!
There are few if any benefits to a film sound recordist in recording single system sound on HD. The benefits are not realised in the quality of recording nor the ease of recording.
Unquestionably sound and camera need to communicate more on HD than film. Is this a bad thing? I try and shoot a test recording whenever the camera has been reset and cables plugged and unplugged. Sometimes, just before we roll the sound recordist will feed tone down the line into the camera and ask the camera operator/camera assistant or focus puller where the level is on the meter. This is not a hassle.
When using a video camera the camera department have to take some responsibility for the recording of sound.
It can't be ignored that the sound is being recorded on camera.
Having the sound on the camera is a bonus for the camera operator. If he needs to find a new audio cue for a pan or tilt, he can replay the tape and listen on head phones with a minimum of fuss. The headphones plugged into the camera is also a useful tool if shooting dialogue on a long lens, as the sound dept doesn't need to pull out additional radio headphones.
Synchronized instant replay without the encumbrance of video assist is a cost saving for low budget productions.
What better way to control the noisy camera crew on set for a wild track than needing them and the camera to record the sound!
DAT is still needed for wild tracks.
The single system method is very reliable if the camera department is familiar with caring for cables. I would recommend that one of the assistants should have video experience.
The sound recordist needs a return feed to guarantee that the audio is properly recorded.
If steadycam is being used the sound recordist should be given the chance to check the audio recording on camera. Replay a take to check before striking the set. It is likely that the DP will want to playback the steady cam shot anyway on a big monitor.
If you are using radio mics on one or two artists why not have duplicate receivers on camera? The camera is usually closer to the artists than the mixer. If there is clothing rustle or wind pops it will be heard by the sound recordist on the duplicate receiver and a retake can be called. If it's clean going to the dat then the sound recordist can be assured that the dat will save the day if there is any interference with the on-camera receivers. If it is a fantastic performance the production has the benefit of two sets of receivers working at capturing the signal. Is this not a benefit?
Consider the use of the clapper board. If you are recording sound on camera do you really need it? The continuity person is well placed to take notes of time code if she is given a time code reader. A editor will find a take more easily by referring to time code. Time code will be superimposed onto the vhs transfers as well. One type of time code (VITC) stays with the shot all the way through the edit to the master.
A clapper will be needed for steady cam shots. One option is to rerecord the sound from the dat onto the end of the take, so that it is easily available in the offline and online.
Many HD cameras are noisier than film cameras. For occasional takes of short duration a cloth can be used to over camera to screen sound. But ther are no barneys for HD cameras as the camera will overheat. A sound recordist who is familiar with digibeta cameras will be accastomed to the noise from the camera and how to deal with it.
There was a secondry fan made for the f900 but this is no longer available and didn't really silence the camera.
Feature sound recordists love double system as they can replay a take in private and evaluate performance and technical quality. I suggest that the features recordist continue to record the take on DAT for this purpose.
Summery for producers
*Record sound by cable into camera wherever possible
*Ensure that the sound recordist has a return signal from the camera for monitoring. This is a high quality return signal available from a 5 pin xlr socket on the camera.
*Make sure that the sound recordist provides or is provided with a loom or a snake. This is a group of cables formed into an umbilical. It is standard procedure in the UK on documentaries.
*If there is significant steadycam work ask the rental facility to provide a easy means of attaching two radio mics to the camera.
*If the the sound recordist is new to video, he should have a prep day with the camera in advance of the shoot, ideally before he has signed a contract.
*Consider having a vtr playback machine on site. This can be used to make transfers. It can also be used to duplicate record in a studio environment. The simple way of achieving this is to use a HDSDI adapter on the camera. The connection from camera to vtr is just one cable.
*Single system sound enables an editor to get to work immediately. In the case of low budget work this can be a very powerful means on focussing the budget on shooting only what is required. If he production has script location or continuity problems a on site editor can quickly edit a scene so a novice director or producer can judge if reshoot or changes to plans are viable. This is one of the many hidden benefits of shooting a low budget feature on HD.
*Hard disk recorders are becomming popular
*Seek the advice of experienced crew!
Twenty years from now you will be more disappointed by the things you didn't do than by the ones you did do. So throw off the bowlines. Sail away from the safe harbour. Catch the trade winds in your sails. Explore. Dream. Discover.
-- Mark Twain
copyright Michael Brennan