Tip #74: Try 5.1 surround sound

By Dan Parkes (Director)

Recording and mastering 5.1 surround sound has until recently been the domain of big budget studios. However many relatively inexpensive audio software packages allow for multi-channel mixing and there was for many years a frustrating gulf between the ability to mix 5.1 and the inability to master a DVD with it. For Ambleton Delight we made the decision to experiment with 5.1 surround using a combination of software.

Firstly, lets define what 5.1 surround sound is. Technically it is actually six channels; the .1 refers to the low frequency bass channel. It normally comprises of six actual speakers: a front left and right, a center channel, two surround (rear) speakers plus a sub woofer (bass, or LFE). While there is the possibility of recording 5.1 on location for us it was all done in post, using Adobe Audition 3.
Our workflow:

1. All of the audio in the film was divided into 5 main tracks: dialogue, foley, atmospheric sound effects, atmospheric music and score.
2. In Adobe Audition 3 each of these tracks was then pointed to various speakers using its surround sound panner. For example the dialogue track (mono) was pointed to the centre speaker channel only. Foley effects were pointed to the front left and right. Atmospheric sound effects and music were spread around all of the speakers
3. Surround sound "moments": There are one or two moments in the film when sound was actually pointed to the rear speakers -for example when someone shouts off screen. These should be used sparingly as they can draw extra attention to themselves.
4. Score reverb. For the score of the film to be in 5.1 we created a "bus" so that a separate track was created containing just the reverb of the score which we then pointed to the rear speakers.
5. Once the 5 main tracks of the film had been organised into which speaker they would be pointed, we then exported from Audition 3 six uncompressed mono 48K WAV files, each WAV file being for each speaker.
6. We then imported these six WAV files into a freeware piece of software called "WAV to AC3 Encoder" which as its name suggests combined the six WAV files into one AC3 file.
7. We then imported the AC3 file into Adobe Encore DVD authoring software as an "asset" and then added an extra audio track to the film's timeline (track 2 -it is best to have track 1 as the stereo track as this will be the default audio) and put the AC3 file onto the track -making sure it matched the length of the video.
8. We created a menu option on the DVD to select the 5.1 track.

NOTE: Of course, this is very much improvised, poor man's 5.1! If you want it done properly it requires specialised skills as the art of surround sound is not easy to master. Also, it is best to use licensed Dolby encoders and software and have it validated by Dolby for official Dolby Digital branding that can then be put on your DVD and advertising!

Tip #73: Record high quality voice over

By Dan Parkes (Director)

"In a world...."

We are now all familiar with the seemingly ubiquitous deep film trailer voice that sounds like he has smoked a hundred cigarettes a day... (epitomised by the legendary late "Don" LaFontaine -picture left- who never smoked!). But that deep, crisp and velvet like voice over is now something possible for even low budget filmmakers to achieve.

In Ambleton Delight we had narration as voice over that starts and finishes the film and this was recorded in a living room.

Here are some tips on what we learned along the way:

1. Is voice over really necessary? There are times when it is a too easy or safe option. Other times it is necessary for backstory.
2. Reading written narration can -depending on the person- be quite an art form and require some practice to make it sound natural. Audition and rehearse as you would for any speaking part.
3. If you can't record in an actual studio then try to replicate one. Reverb and echo is what will ruin your recording -eliminate it by recording in a small enclosed space, or by creating one using duvets, sleeping bags, blankets, cardboard, egg crates etc
4. Treat the recording session the same as when directing actors on set -give as much or as little direction, back-story, motivation as required.
5. Don't underestimate the power of a good microphone. That does not necessary mean an expensive one -you could possibly borrow or hire one for the day. Generally speaking capacitor microphones are better than dynamic for voice over.
6. Make sure you have a pop guard -something that goes between the microphone and mouth to help reduce the puffs of wind from such things as the letter 'p'. You can use stockings to create one.
7. Have large-print print-outs of the voice over, double spaced and a paragraph or less to a page. Don't have any notes that require page-turning as this will make a noticeable noise.
8. Use a music stand to hold the voice over notes.
9. Record high quality uncompressed digital files such as 48K WAV files.
10. Make sure someone is monitoring with headphones and have this option also for the voice over artist so they can monitor themselves.
11. Number takes and label accurately.
12. Add compression and other effects as required afterwards (Pro Tools has a 'voice over' setting).

Tip #72: ADR - Avoid Dialogue Replacement

By Dan Parkes (Director)

ADR stands for "Automated Dialogue Replacement" and is the dubbing or re-recording of dialogue during post-production. Apparently in the UK it is called "post-synchronisation" or "post-sync".

This process is normally required due to technical issues such as poor on-location sound or interference. It can sometimes also be a creative choice -adding extra dialogue to make a scene make more sense. Or sometimes for creating different versions due to classification issues. Samuel L. Jackson famously had his key piece of dialogue from "Snakes on a Plane" rerecorded to replace the offensive language resulting in the dubbed version in he which says "monkey fighting snakes on this Monday to Friday plane"!

Sometimes up to a third or more of film can end up being rerecorded via ADR. However some directors such as Chris Nolan are well known for insisting on using on-location sound only, as quite often ADR -despite the best recordings- never rings true. So it certainly is best to avoid if at all possible.

ADR sessions mostly take place in a recording studio with the original actor watching a looped playback of the shot and then trying to recreate the necessary dialogue. For Ambleton Delight we created a similar process, although it was recorded in a living room. Here are some tips we learned along the way....

1. It really must be a last resort -despite the best efforts it will never match the real thing! Get it right on location as much as possible.
2. Don't just record the word or sentence as it most likely will be too difficult to match the feel of the original dialogue. Record the entire scene or as much of it as possible, to ensure audio continuity.
3. Treat ADR the same as when directing actors on set -give as much or as little direction, back-story, motivation as required.
4. Have the actor move around to imitate the body positions on the screen -especially if it involves walking, running or jumping, as this affects the tone and breathing
5. Use the same or as similar microphones as was used to record the original dialogue. Don't use a voice over microphone unless you need that effect.
6. If recording in a non-studio location be aware of acoustics and reverb and try to match or simulate what the original environment was like.
7. Provide a visual reference -a TV monitor or laptop. Beware that some TVs and laptops make high frequency noise that could affect the recording
8. Loop the scene, with both video and audio continually repeating for at least three times, then the fourth is silent allowing the actor to fill in the audio.
9. Have a visual or audio cue so the actor knows when the looping piece begins so they can time when to start.
10. Do it in small sections. Don't expect an actor to be able to match precise mouth movements over several sentences. But balance this with the need for momentum and being "in-character".
    
11. Not every word has to be exactly in-sync. Some timing can be assisted through audio editing -but of course better to get it as close as you can during the ADR session.

Tip #45: Ensure good on-set sound

By Dan Parkes (Director)

One of the first victims of low-budget film production is unfortunately often the sound. Even higher end productions can have sound issues, so it is no wonder that when the budget is low or non-existant that the sound suffers first. However, when good visuals are marred by poor or unprofessional sound the result can be very detrimental to the entire project. And since good sound is not rocket science or hugely expensive, there should be no need for it to ever suffer.

On Ambleton Delight we had a very simple set up that in the end was very effective -in fact many have commented on how good the sound is. Firstly we had a great sound man, Colin Bradley, with a good ear for sound. Technically we used a Sennheiser ME-66 shot gun microphone with a K6 power supply, a Rycote Softie with pistol grip/suspension and a Lightwave G5 carbon fibre boom pole. This is not particularly expensive kit and is affordable whether purchased or hired.

Above: Sound recordist Colin Bradley
boom operating on location.

Ideally it is better to record the sound into a DAT or some other kind of separate audio recorder, and use a clapperboard and then sync later in post (this is especially true with the present sound limitations of DSLRS). However we ended up recording the sound direct to camera via an XLR lead. While not ideal this has the benefit of having the sound already synced for post. The negative was that our sound recordist had to monitor the sound via the camera which meant he was not free to move far from the camera's position.

Some key points to remember:

1. Use separate microphones. Do not ever use the stock camera microphone as it is almost always poor quality and picks up camera noise.
2. Use directional mics. Shot gun mics or lapel/radio mics are best, depending on the environment and acoustics.
3. Be sound conscious. Bad sound equals bad film. When planning a shoot think about possible sound interefence issues.
4. Have sound monitered by someone with a good ear, using headphones. You might not notice that plane flying overhead, but a good recordist will. They will also know how best to use the microphones and what levels are good.
5. Record room tones and extra bacground sound whenever possible. For example, we recorded people talking and clapping in the village hall for later reference and proved invaluable.
6. Don't ever say 'fix it in post'! While good sound post-production is a must, try to get the best you can on the shoot as ADR and other post fix-it measures are not always satisfactory.

Above: Getting good sound can sometimes
mean some akward situations. Here sound recordist
Colin Bradley sits on the roof!