12 Microphones and sound
-
Roger Singleton-Turner
Abstract
This chapter is an introduction to sound in television. All microphones convert sound waves into electrical signals. There are many models of microphone in TV studios. Each has its uses but this is not the best place for a full analysis. Although there are others, the kinds the readers are likely to come across fall into one of three types: condenser, dynamic and ribbon. Booms are good where the readers wish to avoid seeing mikes in shot. They are good where radio mikes would look out of place and where they cannot be concealed: in a drama. If the original is the better choice, it is sometimes possible to remove the offending sound from that take without affecting the dialogue but leaving a very noticeable hole in the soundtrack. An atmos track happily fills the gap. The absolute silence of 'no signal' is very obvious and will always need attention.
Abstract
This chapter is an introduction to sound in television. All microphones convert sound waves into electrical signals. There are many models of microphone in TV studios. Each has its uses but this is not the best place for a full analysis. Although there are others, the kinds the readers are likely to come across fall into one of three types: condenser, dynamic and ribbon. Booms are good where the readers wish to avoid seeing mikes in shot. They are good where radio mikes would look out of place and where they cannot be concealed: in a drama. If the original is the better choice, it is sometimes possible to remove the offending sound from that take without affecting the dialogue but leaving a very noticeable hole in the soundtrack. An atmos track happily fills the gap. The absolute silence of 'no signal' is very obvious and will always need attention.
Kapitel in diesem Buch
- Front matter i
- Contents v
- List of illustrations xi
- List of tables xvii
- Preface xix
- Acknowledgements xxi
- List of abbreviations xxiii
- 1 Introduction xxvii
- Part I: Safety and Good Practice 1
-
PART II: INTRODUCTION TO THE STUDIO
- 2 Basics 19
- 3 Working with cameras 29
- 4 Lenses and shooting conventions 49
- 5 The studio production team 62
- 6 Technical jobs in the studio 81
- 7 Design and sets 103
- 8 The job of Script Supervisor and multi-camera paperwork 120
- 9 Camera scripts, camera cards etc. and creating them in MS Word (with a note on Autocue) 134
- 10 In the studio 160
- 11 Lighting for video cameras 172
- 12 Microphones and sound 199
-
PART III: CONTENT
- 13 Interviews, discussion and chat 217
- 14 Demonstrations and movement 251
- 15 Having ideas 265
- Part IV: Applying the Principles 287
- 16 Getting it all together 293
- 17 Drama 325
- 18 Music 367
- 19 Shooting action 387
- 20 Afterword 398
- Appendix I 400
- Appendix II 408
- Select videography 412
- Bibliography and references 428
- Suggested further reading 433
- Index 434
Kapitel in diesem Buch
- Front matter i
- Contents v
- List of illustrations xi
- List of tables xvii
- Preface xix
- Acknowledgements xxi
- List of abbreviations xxiii
- 1 Introduction xxvii
- Part I: Safety and Good Practice 1
-
PART II: INTRODUCTION TO THE STUDIO
- 2 Basics 19
- 3 Working with cameras 29
- 4 Lenses and shooting conventions 49
- 5 The studio production team 62
- 6 Technical jobs in the studio 81
- 7 Design and sets 103
- 8 The job of Script Supervisor and multi-camera paperwork 120
- 9 Camera scripts, camera cards etc. and creating them in MS Word (with a note on Autocue) 134
- 10 In the studio 160
- 11 Lighting for video cameras 172
- 12 Microphones and sound 199
-
PART III: CONTENT
- 13 Interviews, discussion and chat 217
- 14 Demonstrations and movement 251
- 15 Having ideas 265
- Part IV: Applying the Principles 287
- 16 Getting it all together 293
- 17 Drama 325
- 18 Music 367
- 19 Shooting action 387
- 20 Afterword 398
- Appendix I 400
- Appendix II 408
- Select videography 412
- Bibliography and references 428
- Suggested further reading 433
- Index 434
