跟读练习: Recording Sound for Film — How to Get Pristine Audio for Film - 通过视频学习英语口语
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Ladies and gentlemen, start your engines!
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Films are made up of sequences.
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Sequences are made up of scenes.
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And scenes are made up of shots.
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In previous episodes, we discussed composition, animation, and production sound.
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In this episode, we will delve deeper into the sound recording process.
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Can I have some quiet on the set?
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Roll sound.
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This is episode 17 of the shot list.
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Production sound part 2.
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Before sound speeds, don't forget to subscribe to StudioBinder and enable notifications to stay up to date on all our videos.
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Now quiet on set Hello
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Last time we looked at the physics of sound
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which is defined as a Disturbance that creates an acoustic wave through an elastic medium like a liquid gas or solid
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We also looked at various terms
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that recur in the sound department along with a plethora of equipment that is needed and And finally,
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we went through the various production sound positions that are available on set.
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Today, we'll look closer at what the sound crew does on set, and how they adapt to different environments.
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Let's begin with the general rules for recording sound on set.
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The sound department's work on set starts long before the recorder starts rolling.
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Though a sound mixer was likely present during the tech scout for locations, they will begin to look for potential noise issues that could arise on set.
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If they spot anything, they will communicate them to the locations department.
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The team will also watch rehearsals in order to get a better sense of how to mic the scene.
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All to you.
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Cheers.
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Far more than my wages amount to.
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Cheers.
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Ideally, they will be able to position the shotgun so that it's no more than three feet away from a subject.
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They can also add plant mics, microphones that are hidden on set to capture the sounds that the shotgun may miss.
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Here's the mic, right here in the bush.
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Now you talk towards it.
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Once more, it is the mixer's job to vocalize if they see a potential sound issue during the run-through.
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In the long run, vocalizing problems early will help expedite the shooting process, an important quality for a good sound department.
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Mixer Chris Howland explains.
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The last thing you can do is slow the train down.
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And so you're always listening to gauging the tone of the room, trying to read between the lines, because if things change, you need to be able to change with them
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and you know you can't rely on somebody to just tell you this is what's going to happen.
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When actors are done with hair and makeup the mixer will then wire them placing the larve in their costumes.
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It's important for a mixer to be sensitive during the process clearly communicating where they will locate the larve.
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It's also critical that the larve's placement will have minimal clothing noise.
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Production sound mixer Tom Williams explains his approach.
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You're trying to get it right to the edge of a costume
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when you've only got a millimeter or so to play with.
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You really need to push it out as much as possible to get as much air on the mic.
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And it still has to obviously be hidden.
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Once the actors are miked and the boom operator is in place, in place, the sound department is ready to record.
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The second assistant camera will slate in front of the camera after the sound mixer confirms they are speeding.
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Speed!
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70 Apple, take 3.
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Ensuring that the post team will be able to sync footage and audio easily.
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The boom op will usually move the shotgun close to the slate to get the clap, and then move it back into position.
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When they are ready, they will often announce, Boom, set!
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Set! And action!
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While recording the scene, the mixer will watch the levels.
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They will usually want to keep audio peaks between minus 6 and minus 12 dB.
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Hitting 0 dB could cause distortion.
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To ensure distortion doesn't occur, some sound mixers will use limiters.
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This will prevent peaks but may eliminate dynamism from dialogue, so it's typically used sparingly.
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The sound department will also want to capture room tone, audio of the set without any other noise.
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This recording can be used by the post-production sound team in the sound bed of a scene, so there's never total silence.
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And so cuts between dialogue aren't as jarring.
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You remind me of the daughter they took away from me.
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A sound mixer will often remind the assistant director at the beginning of the day that they'll need time for room tone.
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Hold it, hold it, hold it!
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What?
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I still have to record room tone.
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Okay, okay, alright, everybody...
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When recording, the boom operator will make sure the microphone is pointed in the same direction it was during the scene
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to ensure a maximum level of continuity.
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Mike's in position.
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Scene six.
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Room tone.
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Rolling.
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Typically, a room tone recording should be about two minutes.
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A sound department may also record wild takes after a scene is finished.
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These are certain sounds from a scene that may be hard to recreate in post, but which are also difficult to capture during the scene.
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This could be the sound of a prop, or even a short line of dialogue.
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Of course, sound recording differs based on the location.
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Let's look at best practices for recording interior sound.
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Usually recording indoors means a recordist has more command over the sound around them.
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Interior spaces typically have controllable noise, which refers to any noise that can be mitigated by the sound or locations department.
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This could be the hum of a refrigerator or an HVAC system in a larger building.
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The crew can often coordinate with the owners of the space to turn off or turn down these noises.
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The size of the set will play a role in what microphone a mixer may choose.
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As a general rule, shotguns with fewer ports, the ridges on the side of the microphone, are better for small spaces.
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For larger spaces, more ports are ideal.
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This is because ports are used to capture sound coming from the side of a shotgun and cancel it out using phasing,
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where a sound wave cancels out a specific frequency.
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Too many ports in too small a space may create an
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unwanted phase effect since the subject's noise may hit the ports as well due to reverb.
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Reverb is an important consideration for indoor settings.
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Short for reverberation, the term refers to the persistence of sound after it is created.
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is often most prevalent when a subject is surrounded by hard surfaces, which will bounce sound waves rather than absorb them.
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A sound mixer typically will want to reduce reverb on set as much as possible.
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Even if a scene may need reverb in the end...
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Where is Harvey Dent?
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...that is usually added by sound designers in post so that they may have more control over how it is employed.
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Where is Harvey Dent?
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To avoid reverb, a sound mixer will try and cover as much of the set as possible
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in soft materials that will absorb sound.
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They may coordinate with the art department to build carpets or curtains into a set.
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But if that's not possible, they will employ Fernies.
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Short for furniture pads, these are blankets made for dampening reverb.
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Sometimes, however, reverb and echo can be utilized deliberately.
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Mixer Amanda Becks explains her approach for a warehouse concert scene in Mike Mills' 20th Century Women.
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When we text-outed it, it was an echo chamber, and I pointed out that it was going to sound like an echo chamber, even with bodies, the band was going to have a certain sound.
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Mike was all about that.
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Mike did not want it to sound like we were recording this band in the studio.
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He wanted it to be the space.
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Another tricky but common interior space is the car.
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When recording in a vehicle, sound mixers have numerous unwanted noises to contend with and a limited space in which to hide mics.
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A rule of thumb most mixers employ in cars is to have the microphone pointed away from the engine
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so that they can avoid that noise as much as possible.
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Often, mixers will hide laughs in a car's visors.
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Sound mixer Stéphane Boucher explains furthering this technique for Lucy.
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The idea was the sun visor, and I was thinking, what about buy a new sun visor,
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exactly the same one, and then I'm going to destroy it, open it, put a mic inside,
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close it again and put it in the car.
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No, this is not possible, lady.
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This is a police car.
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Okay, okay.
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Recording for interior locations requires ingenuity.
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And so does recording exterior sound.
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Often recording outside means having far less command over the sounds making their way onto the set.
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These sounds are called uncontrollable noises and can include anything from a plane flying overhead to a gust of wind.
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If an outdoor set is near a roadway, traffic sounds will also be a concern.
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Sometimes this is a controllable noise through ITC,
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or Intermittent Traffic Control, where the locations department halts the traffic when a take is in progress.
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Wind is harder to halt.
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To avoid wind noise, a recordist will usually employ a blimp or a dead cat.
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A dead cat is a furry covering for a shotgun that cuts down wind from hitting the mic.
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A blimp is another covering that protects a microphone even more.
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But the more protection provided by a covering, the more the high frequencies risk getting reduced.
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So a mixer will typically only use the amount of protection that is absolutely necessary.
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Wind and other uncontrollable noises can also be mitigated through smart mic placement.
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On a particularly gusty day, a boom operator may record from below an actor, pointing the shotgun up at them and avoiding the worst of the wind.
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This is also true if a production is happening on a roof.
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If there is traffic noise from below, pointing the shotgun upwards will avoid it.
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A low-cut filter can also be employed to reduce the bass-heavy interference from wind or low hums from machinery.
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Hi there.
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How you doing?
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Recording outside can also require contending with the elements.
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In these instances, it's important to pay attention to how the equipment is faring.
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Sound mixer Mark Ulano explains the steps he took when working in the bitter cold for the hateful eight.
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You have to have a lot of redundancy because things will fail
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and you have to be very aware of the impact if you work something in the cold, a piece of electronic gear, and then you bring it to a warm place there's going to be condensation inside.
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So it's like a little rainstorm in your electronics that are designed to make it stop working at the worst possible moment.
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So you don't do that.
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You have a set of cold things, you have a set of warm things.
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The elements can make their own noise too.
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When dealing with rain, a mixer may use hogs air, fabric which can dampen the sound of droplets.
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There is only so much a sound team can do for especially difficult settings.
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The goal is to get usable sound even if it's not perfect.
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It is one half of a movie, so don't skimp when it comes to capturing it on set.
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Listen to your sound mixer, otherwise you may pay for it in post-production,
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which we'll get into on our next episode, Post-Production Sound.
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Good sound starts with good planning.
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Get ahead of any audio surprises by using StudioBinder's pre-production software
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and Take a look at the StudioBinder Academy channel for filmmaker interviews and in-depth tutorials on creating shot lists,
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production documents, and more.
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Until next time, keep your ears open.
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What's that noise?
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The mic's picking up her heartbeat.
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Swell.
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Thank you.
你能学到什么
这个视频不仅能帮你了解电影录音知识，还能提升三项实用口语技能：一是听懂专业领域对话（如电影制作术语）的能力，二是捕捉长句中逻辑重音的技巧，三是模仿自然口语节奏。尤其适合雅思口语练习，因为它包含大量真实场景中的交流表达。
注意这些发音现象
视频里有不少连读和弱读值得关注。比如“start your engines”中“start”和“your”连读成“star-tyour”；“roll sound”里“roll”的尾音弱化；“vocalize if”中“if”弱读为/ɪf/。这些连读和弱读是 native speaker 说话流畅的关键，也是shadow speech练习的重点。
像母语者一样表达
模仿视频中说话人的节奏和重音能让你的口语更自然。比如“the sound department's work on set starts long before the recorder starts rolling”一句，重音在“work”“starts”“long before”“recorder”上，节奏快慢交替。练习时可以用shadowing site逐句跟读，注意“mixer”“boom operator”等专业词的发音。记住，shadow speak的核心是“同步”——边听边说，逐渐跟上语速，这样能快速提升口语流畅度。
什么是跟读法？
跟读法 (Shadowing) 是一种有科学依据的语言学习技巧，最初开发用于专业口译员的培训，并由多语言者Alexander Arguelles博士普及。这个方法简单而强大：您在听英语母语原声的同时立即大声重复——就像是一个延迟1-2秒紧跟说话者的影子。与被动听力或语法练习不同，跟读法强迫您的大脑和口腔肌肉同时处理并模仿真实的讲话模式。研究表明它能显着提高发音准确性，语调，节奏，连读，听力理解和口语流利度——使其成为雅思口语备考和真实英语交流最有效的方法之一。