Location Sound 101 - with Derek Livesey
Higher frequencies are more directional
When walking and booming could try booming towards the sky but usually you want to be directing it at the floor
Usually want the driest, crispest sound- unless the shot informs otherwise
Sound wave -> diaphragm -> converts magnetism to voltage -> amplified
Condenser mics inc. shotgun mics
Omnidirectional e.g radio mics, used in television, theatre as well
Figure of Eight e.g for two way conversation in radio, orchestra coverage
Camera ops listen, sound recordists watch - basically keep watching to anticipate when you need to move the boom to favour the next speaker.
Room tone should always be mono because dialogue is mono / Atmos is a choice
Keep notes!! (dope sheet/sound report) Rough notes on set, write up later that day
Get your kit sorted before you get on set
Get loads of tape (red, gaffer, masking, artists etc - good for marking radio mics etc)
Sample rate - like snapshots, as frames per second is for camera, aliasing is what happens when they don’t quite match up, we use 48kHz because the sample rate should be at least double what the human ear can hear (20kHz)
dBu and dbfs are two different things - be careful!
Wildtracks - record from the same place you were recording the dialogue, I.e don’t suddenly go stand right by the source, the sound quality will be completely different
