Most filmmakers I know obsess over cameras, lenses, lights and editing software. They scrimp, save, beg, borrow and (sometimes) steal to get the latest and most advanced gear - all in the name of achieving a 'film look' at any cost. They operate under a faulty assumption - that a 'film look' will somehow catapult their project into Sundance and get them the break they've been chasing since they first picked up a camera. More than likely, you are one of those people. If so, you are wrong.
At the 48 Hour Guerrilla Film Competition, as with any film competition or festival, we rate sound at the top of our scoring sheet. It will quite literally break an otherwise fantastic film and cost you prize money and possibly even your screening slot. Why do we care so much about sound? Because aside from our staff and judges, everyone in the theater who hopefully ends up watching your film on the big screen is going to have to listen to it - and if your audio sucks, they will hate you for it. And so will we. If you really don't think it's that important, go watch your favourite film and turn off the sound. See how long you can pay attention.
That said, let's look at some simple location sound recording methods that will get you the biggest bang for your buck when setting out to shoot your masterpiece. Or underground porno. Whatever, it's all the same to us.
KNOW WHAT YOU'RE SHOOTING
This is much more complicated for some people than you might think. The Guerrilla Filmmaker in you may want to just grab your camera and hit the streets. Plan? Who needs a plan?! Hold on there, Tex. Guerrilla doesn't mean sloppy. It means thinking outside of the box. You don't have to know every detail of what you plan to shoot or have a crew of 25 people handling every minute aspect of your set but you should consider some factors that may come into play before you start rolling. Are you shooting indoors or outdoors? If you're shooting indoors, is there an echo in the space where you'll be shooting? Are there florescent lights? Do they hum? What is the ambient noise situation? Are there crowds of people moving about (shopping malls, restaurants) is there music? If you're shooting outdoors, the same rules apply - seagulls, traffic, people, and WIND are all things you need to keep in mind. Consider your ambient situation first - this will help you figure out how you will need to approach your audio. Simply ask yourself, Will I be able to record clean audio here? If the answer is anything but yes, stop, re-evaluate and shoot someplace else. If we can't hear the actors when they speak - you've failed.
I promise you - no location is so awesome that it's worth trashing your audio for.
THE RIGHT TOOL FOR THE JOB
There are literally hundreds of ways to record audio but for the sake of brevity, let's look at the most common and see how they can accommodate your needs.
ON BOARD AUDIO
Using the mic that's built into your camera. This is the simplest (and worst) way to record sound. Most on board mics come with built in limiters and have an enormous 'cone,' which is to say that they record a very wide area in front of them. They are typically what we'd call ambient mics. They're great for shooting birthday parties and bah mitzvahs but when it comes to shooting something you're actually putting effort into, they don't cut it. AVOID USING YOUR ON BOARD MIC AT ALL COSTS.
BOOM MICS
You know what these are. They've been around since day one. But for those of you who just showed up, a boom mic is simply a combination of a boom (a long stick) and a mic. It's a mic on a stick. The stick allows the boom operator to maneuver and manipulate the mic while simultaneously keeping it out of the frame of the camera. The point at which the mic crosses into the safe zone of the frame is knows as the 'boom line.' This is different than just coming into the shot. More on that another time.
SHOTGUN MICS
You know what a shotgun does, right? It shoots a blast of pellets outward in the shape of a cone. It's one of the most versatile weapons platforms on earth. It's awesome. Shotgun mics are equally awesome. They do the same thing shotguns do, but they do so by recording sound instead of blowing people away. Make sense? Good. This is my 5D MKII setup with a Rode shotgun mic and a windsock.
Shotgun mics are specially designed microphones that (typically) record a 60-120 degree cone, depending on the manufacturer. All mics will have a 'sweet spot' and this will vary with each mic but for the most part about 6-10 feet is a good rule of thumb. Primarily, a shotgun mic will be mounted on the camera via a rail system or gaff tape (if you're nasty) and it will shoot on a horizontal axis (as opposed to the boom mic shooting downward on a vertical axis). Shotgun mics are great for what we call 'run and gun' shooting. You're moving around a lot and you need maximum mobility with minimum fuss. You'll be able to record what is in front of you and ditch 80% of the sound that's off to the sides and all of the sound that's in the rear. I'm a BIG fan of shotgun mics because the moment you take them off of your camera and hang them from a long stick, they become (say it with me) BOOM MICS! So now you know, shotgun mics give you options. They will set you free. There are ways to MacGruber a shotgun mic if you can't afford one but I'm saving that tutorial for another post.
OTHER CONSIDERATIONS
You should always have a plan for your audio and that plan should include a stand alone person to handle sound. This person should be in charge of all audio equipment, cables, mics and assorted gear and they should have a good set of quality head phones (or cans, as we call them in the biz) to monitor what they are recording. You wouldn't just turn on your camera and walk away from it, hoping that it magically gets the shot you want - you have a camera operator. Have a sound guy too and you've covered 90% of your technical challenges.
We get a lot of emails from people asking 'How much should I spend on a good mic?" That's a tough question to answer and it all depends on your situation. Ideally, I'd suggest you budget around a hundred to two-hundred bucks on a good mic and another fifty on the proper cables and assorted accessories. It's a rough figure and that might be out of your price range but that's about the starting point for a decent mic that will do the job. I order my gear through B&H but I'd look at Craigslist, Ebay or Amazon to get the best price. Just do your research and find the mic that fits your budget and needs. The main thing here is that you educate yourself. You know your shooting style, find an audio setup that meets your needs. You'll thank yourself later as the results will become immediately apparent.
Finally - and I can't stress this enough - get a good bag for your audio gear. I like to separate my gear into individual bags that I can grab at a moments notice and throw into the car. I keep a printed list of what is in my bag/kit and I inventory all of my gear before I leave a location to make sure that nothing gets left behind. Having a single bag to store your audio gear and a separate bag for your video gear will keep you organized and ensure that you don't start losing things you've just spent a weeks pay on. I recommend cheaperthandirt, they have great deals and offer a wide assortment of stuff that can come in handy on all your guerrilla shooting excursions.
Have questions or possibly techniques that you've used in the field? Post them in the comments section!
That is all.
- Clint
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