Recorded with increased volume and next door installations turned down.
The Shoot – Setting up the equipment
Recording audio
‘Audio is 70 percent of what you see’ – as the saying goes and there is a lot to it. In ‘one man productions’ assess the situation and choose the correct audio recording technique. Try to avoid auto gain by ensuring the camera you work with has manual gain options and as well as options to gain the channels separately.
Experience shows the best sound is usually achieved by recording it from the position of the camera with a directional microphone. When you move with the camera, the microphone moves too, providing a realistic effect.
Sometimes it can be useful to record source sound to one channel on the camera so that you can mix the levels in post-production between the source and the sound and the space. The source sound of a video projection could be from a DVD-player for example. This method can be useful in spaces where the acoustics are challenging. Sometimes when doing this it can be useful to use a wireless transmitter, although they are usually designed for voice and might sound a bit thin if used for other sounds. Avoid the trap of convincing yourself that you can take the source sound (from the DVD) and synchronise it with the video footage later. This means a lot of extra work and success is not guaranteed.
Another tip for creating realistic sound is to attach a wireless microphone to a model. Follow the model with the camera from a fixed position and record the sound that the viewer hears. This is especially useful when documenting installations that change acoustically as the viewer moves in the space.
Always leave the level low enough so that the highest peak will be under 0 decibels (db). Digital recording does not forgive errors. Keep the normal level at -12 db maximum. That leaves enough ‘headroom’ for sudden peaks.
Remember to use headphones to monitoring the sound while filming. Choose ear-enclosing headphones that prevent you hearing the room sound.
In exhibitions with several pieces on display it makes sense to turn down the volume of a neighbouring work that usually can be heard from the other space. But check this with the artist and curator. Some artists plan the exhibition in the manner where this spill of sound is taken into account and is meant to be there.
Whenever possible use a separate professional recordist.
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