Audio

Audio is often overlooked by beginning videographers. As a result, amateur projects often have lots of ambience, noise, poor mic techniques, wide variations in levels, hiss and other annoying sound problems. One of the best ways to look like a pro is to sound like a pro.

Camera microphones

Most camcorders come with built in microphones. These camera mics are generally not the highest quality and have a tendency to pick up a lot of unwanted noise. They are, however, very convenient and easy to use. The camera mic is adequate in certain cases, but more pleasing results can be obtained using different microphones. The general rule is get the mic as close to the source as possible. The location where you are shooting is bound to have lots of unwanted noise (air-conditioner, traffic, street noise, noise from other people, planes.) Placing the microphone close to your subject will help decrease the amount of ambient noise that gets recorded.

There are several types of microphones, each one has certain characteristics which make it appropriate for specific applications. Continue reading to determine which microphone is most appropriate for your particular needs.

PICTURE	MICTYPE	CHARACTERISICS	HOW & WHEN TO USE
	Shot Gun	unidirectional, with a hyper cardioid pickup pattern, high output. Generally requires phantom power.	Works well if you are shooting alone - generally mounted on camera - picks up what it's aimed at - be careful where you aim- very good at rejecting ambient noises.
	Handheld	unidirectional, cardioid pickup pattern. For best results, keep the mic close to your source	Typically used for news or ENG work - hold close to the audio source for best results.
	Lavalier	Omnidirectional or unidirectional. Generally requires phantom power.	Small mic usually clipped on clothing - talent doesn't have to hold the mic - it can easily be hidden from the camera.
	PZM	Pressure Zone Microphone. Omnidirectional. Generally requires phantom power.	Effective way to record many people using a single mic - picks up all noises so try to limit unwanted sounds - usually placed on a flat reflective surface (floor, table).

Using the right mic is only part of what is involved in creating good audio. Continue reading for some additional tips for producing quality audio.

Roll-off

If your microphone has a roll-off filter, use it. The filter rolls off or cuts very low frequencies 80Hz and below. It is beneficial to cut those frequencies as they mainly contain low end rumble, wind noise, or noise from machinery. The human voice is not within this frequency range so you are not compromising the dialog but instead decreasing the noise that would cover your dialog. The pop filter or windscreen is an easy way to use a low end cut even if your mic doesn't have a low end roll off switch. A pop filter is simply a piece of foam that is placed over the mic. This foam helps cut down on low end noise as well as helping to control transient sounds produced when certain letters such as "B", "P", and "K", which generate more wind than others when spoken. These sound are sometimes referred to as plosives. Plosives are sometimes caused by placing the mic to close to the source.

VU Meters/ Headphones

If your camera has audio meters, take advantage of them. Meters can provide a good indication of whether you need to turn the gain up or down. While meters provide a general indication of audio levels let your ears be the final judge. Most cameras provide a headphone jack. Monitoring with headphones and watching the audio meters will let you know exactly what is going to tape.

Phase

When using multiple microphones you must be aware of phase relationships. If two mics are picking up the same source from two different location (at two slightly different times) the two signals can become out of phase, resulting in a loss of level and sound quality.

Monkey Tip: In a pinch Professor Monkey will use a sock or a nylon stocking as a pop/wind filter.

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