Filming begins. Everything is prepared. The director shouts "action", but previously he must review the different areas: lighting?... -list, cameras?... -list, sound? -... Although this last area seems something as simple as putting a microphone, going through the mixing console to the recorder and that's it, this is not so so. There are a number of factors that affect this process and that must be taken into account to achieve good sound capture.
Venue acoustics
First of all, this factor will be extremely important when determining what type of microphones will be used and in what position we will place them. This determination will also be determined according to the type of action that takes place: if we are recording a conversation on the street with pauses or silences between each interlocutor, we will use highly directional shotgun microphones, such as the Sennheiser MKH-816 or the Audio Technica AT4071, to try to capture only the voice; then at some point of rest it will be good to record some shots of the environment to be mixed later with the voice and music.
If the shooting is in an enclosed area we must take into account the degree of reverberation. "Living" or highly reverberating places accentuate all sounds, even unwanted ones. In these places it will seem that the microphones have a greater degree of capture at great distances, that the voices have more body, and so it will be; but a lot of unwanted noises such as voice reflections, camera movements, ambient noises, etc. will also be reaching the microphone. All these noises will affect the intelligibility of the shot, and if there is something that must be taken care of above all things, it is the clarity of the words, beyond the music, effects, environments, etc. A good solution for places of these characteristics can be to use transportable acoustic panels, which are like slates with wheels, coated with absorbent materials such as glass wool. These panels are located on both sides of the chamber panel (as close as possible) and absorb reflections from the rest of the enclosure, acoustically isolating the action.
On the contrary, in "dead" or unreverberating places, all sounds have much less intensity, and a good proximity to the microphone must be sought to capture them.
Microphone management and location
This is another fundamental factor to take into account. A good location of the microphones and a proper handling of them is what will guarantee the good shot and will avoid many problems. Let's take the example of a program with a panel discussion. Each of the people at the table will have a tie or lapel microphone placed, such as the 7000 series of Audio Technica. These microphones are highly sensitive, so they must be well placed since the slightest rubbing of the clothes will produce noise. Also the operator must be attentive to (as far as possible) raise the profits as a person begins to talk, otherwise the (unwanted) noises of the other people at the table will also be heard when moving, or when talking to each other, etc. A good help in this type of program is to also place one or two omnidirectional table microphones or pzm (pressure zone microphone) as a backup. These microphones will be taking all the people from the table and can serve as a complement or in the case of the malfunction of any of the ties. Another very useful option is to use a short shotgun microphone controlled by a giraffe. This option will also allow you to bring the microphone closer to the public if necessary. A good indoor microphone is audio Technica's AT4073a. So also the operator of the giraffe must be highly familiar with the use of it, to avoid shadows, out of field, microphone in image, etc. A very frequent error in programs that use this technique is what is known as off-field when a person begins to speak: only after a few seconds (when the microphone reaches its position) does the person's voice begin to be heard. That is why the equipment to be used, the action to be developed, the dialogues, the pauses, etc., must be taken into account to prevent this type of inconvenience.
Monitoring
As for monitoring, some factors must be taken into account:
1- Floor monitoring is only for reference; it should not be at too much a volume since this monitoring signal will be getting back into the microphones and will feed back into the entire system, producing unwanted couplings and environments. It is advisable to use headphone monitoring to avoid these inconveniences.
2- In the case of live music on the floor, the monitors must be close to the musicians in order to keep them at a relatively low level. It is necessary to bear in mind that in this case musicians need a little more than a simple reference, to be able to "feel" their music. This way they will feel more comfortable and give a better show, especially if it is just a singer with their playback tracks on a CD.
3- At the moment when a VTR is in the air, it is possible to minimally raise the floor monitoring level (if necessary), as long as the floor microphones are closed.
4- In the case of a program with telephone calls, the production person who previously speaks with the viewer who called, must instruct the same to move away or lower the volume of your television once on the air. This will also avoid coupling problems (the signal leaves the TV and feeds back the system through the phone's microphone).
5- It is important to have personal monitoring or headphones, since they can send not only the sounds that go on the air, but also indications from the director or producer to the actors, moderators, etc.
Operation and mixing control
Finally, all this work falls on the sound operator located in the control room console. This person must be very attentive and in constant contact with the director of cameras, the VTR operator, the producer, the coordinator of broadcast to the air, etc., to follow neatly the changes in the script of the program or routine sheet.
The operator has control and must mix, not only the microphones, but also the sound of all peripherals such as VTR's, telephone communications, compact disc players, etc. A good tip prior to any production is to pre-test all these sound sources to balance them, that they are all on the same plane, that they have the appropriate equalization. It is also very important that all VTRs have their output balanced at the same level. All these details, however small they may seem, will speed up the operator's task and give him greater concentration and security for the moment of the program.
These factors, which at first seem too many, are then incorporated with practice. But it is good to take advantage of all the time you have, prior to production, to leave the system tested, adjusted and working.
