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Video Production Techniques: Location Audio Recording
Illustration by John Hersey

Setting up to record a speaker or panel


From:

Video Production Techniques: Location Audio Recording

with Anthony Q. Artis

Video: Setting up to record a speaker or panel

Now for purposes of this demonstration, I'm

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Video Production Techniques: Location Audio Recording
1h 23m Appropriate for all Nov 20, 2013

Viewers: in countries Watching now:

Audio is one the most important but least appreciated aspects of filmmaking. Your audience will notice if you don't put the same care and attention you pay to your visuals into your audio. In this how-to course, Anthony Q. Artis walks through many of the most common audio recording scenarios. Think of it like an audio "cookbook" with step-by-step recipes for situations like conference panels, stage shows, and narrative dialog scenes. Anthony also shows you how to set up mixers, wireless mics, and booms, and make sure your camera is correctly set up to capture audio. He wraps up with troubleshooting tips covering a range of issues, from wind noise to echoes, and shows how to fix the problems you can't solve on set in post production.

Topics include:
  • Hooking up a mixer
  • Selecting the right mic for the job—table, lavalier, or boom
  • Using wireless mics
  • Hiding mics
  • Mic'ing the crowd at an event
  • Capturing the action up close
  • Matching visual perspective to audio
  • Dealing with background noise
  • Reducing rumble, window, and hiss in post
Subjects:
Video Audio for Video Shooting Video
Author:
Anthony Q. Artis

Setting up to record a speaker or panel

Now for purposes of this demonstration, I'm going to be having the speaker miced up with the wireless loud mic that's running to my mixer, which is running into my camera. Then I'm also going to be using a shotgun mic directly on the camera going in. And the main reason I'm doing that is because I want to pick up a little more of the ambiance of the room, the reaction of the people as he's giving his presentation. However, if the reactions of those audience members weren't as important for what I wanted to record and I wanted to get a nice, clean signal. In the very best case scenario, I'm often able to plug into the live mix from the room.

So when you're shooting in a room like this, they have their own sound system more often than not. And often, if I'm very lucky, there will also be an audio engineer with a mixer. So I'm able to just plug into that mixing board, or plug into the AB system in the room and then run than audio directly to my mixer. So that's what I have right here. I've now plugged into the room and now I can just run that audio. Plug that into my mixer, and then all I would do is do a little sound test to make sure my levels are set properly.

But even though I'm plugged into the room, notice that I still have a shotgun mic mounted onto my camera. Now the reason for that is that, I always want to have a backup microphone, just in case something goes wrong especially during a live presentation. The last thing I want to do is to have to stop the speaker and remount the mic or check batteries, or anything like that. So, regardless of what I'm using, two mics is always better than one.

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