Getting dialog with a crisp and present sound?

M

MarxWays

Member
I am filming a project next week, a short scripted crime story with bit of a documentary feel to it! I am shooting with BMCC and audio will be taken with a Sennheiser 416, thru a Sound Devices 302 and recored with Tascam dr100.

I'm looking for some advice on how to get my dialog to sound super crisp with a lot of presence.
Found dialog in two trailers which got exactly the sound I'm looking for. When I turn up my studio monitors, it's really similar to how blockbuster dialog sound in theaters.

0:29 to 0:34
http://www.youtube.com/watch?v=3M8KJ7E_yWs#t=70

1:30-1:36 and 1:40-1:45
http://www.youtube.com/watch?v=FRlqqoHfzX0

Can I get that sound if I'm doing everything right on set? How much is done on post?

Another question. The audio equipment listed above is my own, but the rental place where im getting the BMCC also has a Neumann KMi84, would there be any resons to rent it? There will be some indoor dialog so I quess it would fit into that, but will it stand up to the 416?





 
Location audio is all about getting it clean as possible without any background noise or extreme reverb or ambience, the post guys will produce it to match the final visuals and if it is for a promo they will add EQ and compression to suit!

The 416 is a great mic as is the neuman KM184 and both should get good results on location but you will never record audio on set that will match a post produced promo!

Personally I tend to prefer neutral sounding location audio with any low rumble removed and minimal reverb or ambience but I would say talk to some post guys and go and sit in on a session and see and hear what they do to location audio to get the results you hear on You Tube etc as it may also be that a producer or director wants it to sound a certain way that is no where near what is recorded on location!
 
I quess you are right! But what have actually been done with EQ, what is boosted and what is not? how is it compressed?

Also want to point out that it's not the neuman KM184, instead the older KM84.
 
MarxWays said:
I quess you are right! But what have actually been done with EQ, what is boosted and what is not? how is it compressed?

Also want to point out that it's not the neuman KM184, instead the older KM84.
Click to expand...

We used the older KM84 on our fisher studio booms and they are also great mics.

As to what is done in post to get that type of sound well it all depends what you are given to work with in the first place but sometimes a lot of EQ and compression can be added to suit the genre of promo but a more relaxed promo may need less, I will post some examples if I can as every post mixer will have their own methods but it will also depend what mixer is being used in post as an AMS Neve Logic or DFC that I tend to use will be totally different to a pro tools or even a Yamaha or analogue set-up.

Generally some high pass filter will be used to get rid of any low frequency rumble between 80-150hz depending on the track and some high frequency sparkle between 3-8khz may be added with whatever compression is required but as said no general rules and it all depends on the post mixer and the sound desk being used.

Note that for movie promo's there tends to be a lot more EQ and compression as it is a commercial and they tend to have different mix rules as they have to be a lot bigger sounding.
 
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It all starts with the production sound; GIGO - Garbage In, Garbage Out. So, even more important than the gear, is the boom technique. "Presence" is getting the mic in REALLY close. Then in audio post you clean out all of the "trash" using noise reduction, etc. and then carefully, judiciously enhance with EQ.
 
A KM84 is noisier, less sensitive, and flatter up top than a KM184. In other words, the exact opposite of what the OP is seeking.

Fran
 
MarxWays said:
I quess you are right! But what have actually been done with EQ, what is boosted and what is not? how is it compressed?.
Click to expand...

I'm way far from being an expert, and worse I'm largely self taught. So if I get this wrong, someone please correct me; I'm always willing to learn!

Much depends on the source (the voice itself and the quality of the capture) and your goals. There's no cook-book for this.

That said, the voice "presence" range is generally though to be around 3-5 KHz. A boost somewhere in that region often improves intelligibility. Clearly, males will be in the lower part of that range, females in the upper part, but it depends on the individual voice. You'll have to make a narrow boost, then drag it back and forth while listening to find the right frequency, and change the Q to widen and narrow the boost to find the right fit.

Below this, in the 2-3 KHz range, is the "nasal" range. A smooth boost somewhere in here can make a dull voice a little more lively. A smooth cut if the voice is nasally. Like above, make your boost/cut, drag it back and forth, play with the Q, rinse and repeat.

Below this, in the 1-2 KHz range, is the "consonants" range. A narrow boost here can improve the consonants and make the voice a little more understandable. Like above...

Below that, in the 175-400 Hz range, is the "warmth" range. A little boost here can increase warmth, again usually lower in men and higher in women. Like above...

Above the presence range, in the 5-15 KHz area, is "air". Boost smoothly to add "air", cut smoothly to reduce noise.

All that said, remember to be subtle. A little goes a long way. Don't over produce it. Best thing you can do is pick a voice and play with it. Work with it for a while, set it aside, come back tomorrow and listen to the original and your changes. Did you make it better, or worse? Does it sound natural or artificial? Be brave, let other people listen to what you're doing. Listen to their comments, learn from their reactions.

The more you do, the better you get. If you can hear and you're interested in getting better of course.
 
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