Location Sound Workshop

This Location Sound workshop will focus on both mixing and recording. The course will look at a wide variety of microphones and techniques, as well as the theoretical background information you need. The course is aimed at all those who need to improve their sound mixing and recording techniques. Whether your looking to start a career in location sound mixing and recording, or are a director looking to find out how to get better sound for your film, or an independent filmmaker looking to get another string to your bow this location sound course is for you.

This intensive course runs over a weekend and classes take place at OFVM from 10.00am until 5.00pm (6 hours tuition per day with 1 hour of breaks per day)

Date: Weekend 26th & 27th May 2012 10am – 5pm, PLACES AVAILABLE

Cost

£148.50 (includes10 per cent early booking discount if booked by 12th May 2012  – EU citizens)

£165 Subsidised rate for EU citizens

£215 Full price for non-EU citizens. (Non-Eu citizens with indefinite leave to remain can pay subsidised rate – proof required.)

£82.50 – includes 50% discount for people on benefits, proof required, (income support, JSA, Housing Benefit, Council tax benefit, pension credit (guarantee), asylum seeker, unwaged dependent of someone on these benefits.

Workshop lead by Dan Harbour
Dan is a Skillset-trained location sound recordist with experience in short film, feature film, docs, pilots and corporate video. He has experience recording to DAT, solid state and Nagra for 16mm and 35mm productions, and mixing to camera when working with Digibeta and HDCam formats. Dan started out in live sound mixing 10 years ago and still co-runs a live PA company when he’s not on set. Recent productions Dan has worked on include a factual with award-winning documentary maker Andy Jillings and the urban gangster feature, Rollin’ with the Nines (Best Feature, Raindance 2006). Sound recordist for UK unit on ‘Bhutto’ documentary which premiered at Sundance this year. Sound recordist for IT communication at Intel and Geocast.

 

Day 1 – Intro to Sound, Equipment & Professional Mixing

10:00 Introduction

1. Registration, aims & objectives of the course
2. Discussion about previous experiences of sound recording

10:20 Overview of sound in Film & Broadcast

1. Importance of sound and common mistakes/misconceptions
2. Jobs and roles within the industry
3. Sound-gathering formats
4. Examples of good practice

10:50 Introduction to basic sound kit

1. Mics, cables, mixers, cans, poles & their uses

11.15 Introduction to microphones: how they work & how to use them

1. MKH 416 cardioid boom
2. MKH 50 hyper-cardioid boom
3. D230 dynamic reporter’s mic
4. ECM 77-b personal mic
5. EW-112p radio mic
6. Pro-42 boundary mic

11:45 Practical exercise – recording with different mics

12:30 Lunch

1:30 How does sound actually work?

1. Waves & phase
2. Sampling & frequencies
3. Mono & Stereo
4. Phantom power
5. Feedback
6. Signal routing
7. Mic & line levels

2:00 Recording to camera

1. Inputs
2. Monitoring
3. Menus
4. Consistency & quality

2:20 Recording via an SQN mixer

1. Setting up the camera to receive optimum signal
2. Setting up the SQN
3. Gain & attenuation
4. Bass roll-off & limiting
5. Panning & tone
6. Mixing & monitoring for quality & consistency

3:00 Practical exercise – ENG sound acquisition

3:45 Practical exercise – documentary sound acquisition

4:45 Summary/Q&A

5:00 End of day 1

Day 2 – Recording, Planning, & Shoot Techniques

10:00 Recap of day 1 and further Q&A

10:20 Introduction recording equipment

1. Fostex, nagra, tascam & HHB

10:40 Theory of recording

1. Pros & cons of separate sound recording
2. DAT vs. solid state
3. Crew & mic set-ups for drama
4. Multi-tracking

10:50 Setting up to record

1. Preparing the media (striping, formatting, tone, labelling)
2. Recording options
3. Logging options
4. Monitoring
5. Processing audio

11:10 Practical exercise – basic recording on DAT & memory card

11:40 Booming techniques for drama

1. Choice of mic & setting up
2. Correct handling of the pole
3. Angling and proximity of the mic
4. Tips & techniques of capturing clear sound

12:00 Practical exercise – effective booming

1:00 Lunch

2:00 Essential pre-production sound planning (interactive)

1. Scouting the location
2. Working with the director and DP
3. What to look for in the script
4. Choosing the right equipment
5. Post-production considerations

2:30 Essential shooting techniques (interactive)

1. Sound-proofing and sound-absorption
2. Rigging mics and attaching mics to actors
3. The sound man vs. the off-set crew!
4. Tips for managing different sound environments
5. Liaising with the Director & DP on set
6. Wildtracks, guidetracks & atmos.
7. Logging in the sound report
8. Keeping it clean & clear: recording tips & tricks

3:00 Practical exercise – mixing, recording & problem-solving on a mock set

4:30 Summary/Q&A/Resources

5:00 End of workshop

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