On-Location Production Sound – Interviews
By Michael Kromm, Creative Director
SolidLine Media
“Fix it in post.” You hear that quite often. Easy to say, but very time consuming for the audio designer who has to “fix it in post.” Why not just record it correctly in the field. Why not spend the few extra minutes it usually takes to get it right? I can’t answer those questions for you, but what I can answer is how to do it right the first time, every time.
Filming high definition video on a soundstage, Chicago, IL
Audio is just as important as the video. If you can’t hear what you are seeing, the message will be lost. I will walk you through the SolidLine Media typical video production interview and how to properly setup audio. I have what I call an audio kit, it includes: 4 channel audio mixer, Sennheiser 416 boom microphone and accessories (shotgun handle, blimp, dead cat and an XLR pigtail), 2 wired Sure lav, Sennheiser wireless lav, duplex box and cable, 2 sets of Sony headphones, several XLR cables and boom pole with side XLR output.
I always use boom poles with a side XLR output. That way the XLR plug will not get damaged if set or rested on the bottom of the pole.
SolidLine Media runs two HD cameras for all of our High Definitio video production interviews (see detailed Blog about this process).
2 Camera filming with Boom Microphone, Orlando, FL
That requires not only both cameras having synced time codes, but also an XLR audio feed from the boom microphone. The main reason I use a field audio mixer is to pan the output audio to Stereo allowing me to have a left and right signal.
Field Mixer Input 1 - Pan Centered for Stereo Output
I run output left to camera 1 and output right to camera 2.
Output Left to Camera 1, Output Right to Camera 2
If I cannot find a controlled environment (a controlled environment is a location that the film crew has total control, i.e. a soundstage, quiet conference room or office), I will typically use a wired lav.
I used a wired lav inside this noisy U.S. military hanger, Fort Hood Army Post, Killeen, TX
The lav provides much less background noise, but decreases the realistic dynamic sound the boom produces. This allows me an additional audio channel and a creative choice in post-production. It is even possible in post to mix the two channels together to create the best of both worlds. Don’t ever mix the channels together in the field, you will never be able to separate them later. I will run the wired lavalier directly into camera 1 input 2 and always monitor with my headphones from camera 1. Always treat camera 1 as the main camera for audio and camera 2 as a backup. I will setup the audio level on camera 2 with buffer so it won’t peak and become distorted since I will not monitor its audio. Do not monitor audio from your mixer. What is important is what is being recorded, and that is camera 1, so monitor from the headphone output on camera 1.
Reviewing high definition 2 camera interview footage and sound
This very simple process provides outstanding audio for all types of video production interview setups and can be and should be tailored to fit the needs of each location and or video production.
For fun, see noisy locations below where it’s not a good idea for interview filming.
HD Video Filming at JFK Airport, New York
Video Production filming at O’Hare Airport, Chicago, IL
High Definition shooting near an F-16 Tomcat, Sheppard Air Force Base, Wichita Falls, TX
You can contact Michael Kromm at mkromm@solidlinemedia.com.
To Learn more about SolidLine Media, visit us online at www.solidlinemedia.com. Or call 312-939-8600.
Copyright 2009 SolidLine Media, a division of KV Media Group, Inc.
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