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by Tony Grant
Audio for Single Camera Operation
Front Cover
Half Title
Title Page
Copyright
Contents
About the author
Acknowledgements
Introduction
1 I’m all ears – theoretically!
Sound – the executive explanation
I hear you knocking
Hearing test
In sickness and in health
2 Sound measurement
Frequency
Velocity and wavelength
Doppler effect
Sound reflection and absorption
Phase
Moving mics
Thinking aloud
Inverse square law
Acoustics
Intelligibility
3 Camcorder: power and audio facilities
Power
Inputs
Sound output
Phantom power
Batteries and run time
4 Camcorder: track selection and magnetic recording
Track selection
Mic and line level
On camera mic
Magnetic recording:
Cassette
Head cleaning
5 Camcorder: sound levels
Manual or auto
Level control and dynamic range
Post-production
Limiter
Dolby encoding
6 Camcorder: sound metering
Meter summary
Viewfinder indication
Auto tone
Line-up
7 Camcorder: external facilities
Sound monitoring
Noise on monitoring circuit
Playback or E to E
Headphone monitoring volume control
Alarm
Tape/alarm warnings
LCD display
Camcorder recording operation
Eject
Playback adapter
8 Mics: types in common location usage
Polar response
Frequency response
Gun mic: directional
Reporter’s hand-held (stick) mic: omni-directional
Clip (personal) mic: omnidirectional
M/S
Phantom powering
T-power
9 Mics: cables and radio
Balanced line
Unbalanced line
Direct inject box
Straight or curly?
Plugging
Colours
Radio mics
Radio mic rules
10 Mics: placement with regard to speech
The seated indoor interview
Mic choice
Position
Mic stand
11 Mics: use of clip mic for seated interview
Fabrics and fashions
Making the interviewee comfortable:
Experienced interviewees
Inexperienced interviewees
Last word on clip mics
Last word on cable concealment
Last word!
12 Mics: practical listening exercise (a) mic quality
Listening to mics
Practical exercises
Omni
Directional
The recording
13 Mics: practical listening exercise (b) mic placement and sound discrimination
One ear
The recording
Once more, with pictures
Further listening
14 Sound balance and location acoustics
Sound balance
Open-plan office example
Location acoustics
Voice-over
15 Recording for the edit
Murphy’s Law
Run to record … and cut!
Wildtrack
Copyright
16 Safety
First aid
High sound levels
Accident
Pre-location planning
On location:
Rigging
Handling and carrying
Electrical
Cables
Shooting
Clean/disinfect earpieces
It’s a wrap
Personal comfort
Problems
At all times
Insurance
17 Single person operation: mic placement overview and static operation
Mic choice and placement
Remain stationary
Piece to camera
One plus one
And the rest …
Stand mic
18 Single person operation: specific location scenarios
Walking and talking
Press conference
Phone conversation
Wind noise
If wet, in the pavilion
On-camera mic
19 Single person operation: use of headphones
Confidence replay
Headphone volume control
Emergency spare
20 Single person operation: tracks, levels and practical exercise (c)
Which track?
Sound level
Practical exercise (c): pre-location
Gain
21 Single person operation: shooting
At the location
Line-up
Shooting for the edit
‘Did you get that?’
Cassette handling
Transcription recording
Sync
22 Sound recordist operation: mixer
Portable location mixer
(a) Channel inputs
(b) Outputs
(c) Powering
(d) Metering and monitoring
(e) Tone
Mixer/recorder
23 Sound recordist operation: track selection
Camcorder plugging
Working apart
Radio link
24 Sound recordist operation: mixing mics
Mics
Mixing
Judging shot size
25 Sound recordist operation: practical exercises (d) and (e)
Practical exercise (d): mixing
Practical exercise (e): mixing and balancing
26 Sound recordist operation: balancing
The balancing act
Deliberate sound peak
The perfect mix?
Split track
Transcription recording
27 Sound recordist operation: pole operation
Add-ons
Choice of pole
Me and my shadow
28 Sound recordist operation: multiple contributors
Multi-channel desk
The sound trolley
Mic stands
Equalization
Face the music
One mic
Shooting from several camera positions
Perspective
Communications
Working with assistants
PA
29 Stereo: mics and placement
Sound stage
Sound bite
Wildtrack
Don’t move!
On camera mic
Mics
Middle or main and side (M/S)
Pole operation
30 Stereo: mixer
Ganged controls
Additional mixer stereo facilities
Cabling and identification
Levels
Mono compatibility
31 Live broadcasting
Links vehicle
Communications
Omni (or open) talkback
Switched talkback
Reverse talkback
Radio talkback
Clean feed
‘When are we on?’
Circuit check
Cut to ident.
On-air
Standby (hot spare)
Live – from a phone near you!
32 Digital sound
‘The greatest invention since sliced bread’
Error handling
33 Timecode
Control track
Data or U-bit
Timecode
Hold and reset
Timecode feed to ancillary equipment
Radio timecode
Timecode on location
Head cleaning
More information
34 Pre-location equipment check
Test tape
Equipment list
Single person operation
Sound recordist operation
35 Fault finding
Power
Sound metering and monitoring
Sound signal chain
Noise
Noisy monitoring
Intermittent noise
36 Equipment
Headphones
Basic tools
Kit bag
Extra tools
Accessories in extremis
XLR cables
And the rest …
Mixer, pole and mic stands
Hire
Flight cases and packing
Vehicle
Add-ons
37 Mics: technical information and operational summaries
Moving coil
Condenser
Electret
Figure-of-eight polar diagram
Mics: operational summaries
Stick (omni, dynamic)
Gun
Clip
Radio
38 Call sheet details
Location planning – recce
Events
Crew call sheet
Call time and R/V
Production details
Shooting
On the day
39 Insurance
Public liability
Employee liability
Professional indemnity
Equipment
Personal life
Travel
Medical/health
Personal accident/injury
Vehicle
Income protection
Appendix A Industry associations and societies
Appendix B Bibliography
Appendix C Terminology
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