SHOTGUN 101

A majority of the production dialogue recorded in major "Hollywood" theatrical productions and television series is miked from overhead, utilizing either a fishpole or studio boom.

Overhead miking provides a natural sound. Normal sound effects and some background ambiance are also picked up, and at a lower relative level than the dialogue, thus rounding out the total track. One of the big advantages of shotgun mics is the ability to capture sound with perspective. The sound perspective matches camera perspective when the boom mic is able to get in close on tight shots, and is further away on longer shots.

In contrast, the use of lavaliers and radio mics produces dialogue that is often sterile in texture - lacking natural sound effects and ambiance. Perspective is always forced and "close-up" - regardless of camera angle. Audio is often subject to abrupt changes in presence, such as those caused by talent turning their head off-axis to the lav, or leaning over a hard surface (such as a desk or podium). Last, though surely not least, lavaliers are prone to distracting clothing noise and other
interference.

A good technique is to follow the same approach towards dialogue recording as practiced by feature mixers: Use lavaliers with discretion and take advantage of overhead miking as much as possible.

Microphone selection plays an important role in overhead miking technique, along with choosing a skilled and experienced boom operator. Just like camera lens focal length, there is no one choice of specific microphone that will be right for all situations. A professional package should include an assortment.

It cannot be over stressed that, for best results, only the highest quality condenser microphones - such as those discussed in this catalog section - should be used in capturing dialogue. Although most electret condensers are very good microphones for their price and features, they simply do not perform as well as condensers for professional or theatrical dialogue applications. Top of the line condensers offer superior reach and sensitivity over the electrets, and that can spell out the difference on those more demanding shots between getting 'rich' dialogue versus 'weak' or 'thin' audio.

Allow the extra room in the budget to purchase or rent a package of true condenser microphones along with the proper accessories (power supplies, shockmounts, blimp windscreens) to make them work.

Similar to telephoto lenses, shotgun microphones tend to compress the distance between foreground and background. Avoid pointing the mic as if it were a rifle, unless you are totally unconcerned about bringing up the background. Be careful of what is in the "line of sight" behind the talent.

The best way to eliminate this "telephoto" effect is to aim the mic down from above, so that the only "background" in the microphone line of sight is the silent ground.

The most popular microphones for exterior use are long shotgun microphones. Long shotguns offer narrow pick-up patterns and excellent sensitivity and reach. Deployed overhead of talent, tilted just slightly towards the mouth - these mics will eliminate considerable background ambiance while still picking up natural sound effects such as footsteps and hand business. Because of their directionality, these long shotguns can be played at greater headroom above the actor when necessary (up to several feet depending on ambient noise), thus facilitating the wider frames more common on exterior set-ups.

The disadvantages of the long shotgun are its directionality and physical dimensions. The narrow pick-up pattern requires that much more care be taken in cueing (aiming). Moving talent must be meticulously followed; multiple talent requires rapid and precise repositioning of the mic for each person's lines. The physical length sometimes becomes a problem, for example, in interiors with low ceilings.

The extended length of the shotgun is usually not a problem when working outdoors, although situations may arise where a shorter mic is necessary. Weight, on the other hand, can be a definite problem. Do not underestimate the strength and stamina required to manually support a fully extended fishpole complete with shotgun mic, shockmount, and windscreen over the course of a long day!

The short shotgun is characterized by its more manageable length and wider pick-up pattern (supercardioid or hypercardioid). The somewhat wider (though still very directional) pattern makes it easier to follow, or cue the talent. On the other hand, the effective working range (maximum distance) of the mic is diminished. Also, the wider pick-up pattern tends not to isolate talent from ambient noise as well as the long shotgun.

Interior situations pose an entirely different set of problems for the sound mixer. It becomes a question of striking a balance between reach versus acoustics.

Shotgun microphones with interference tubes tend to exhibit loss of definition when used in confined, hard-walled interiors such as kitchens, bathrooms, small offices, and so on. This phenomenon is caused by reflected sound waves interfering with the acoustic noise canceling principles employed with the interference tube.

The solution is to use the wider angle condenser mics without interference tubes. The problem is that these wider angle mics (cardioids and hypercardioid) also have less reach. It becomes a matter of trade off between choosing the crisp sound offered by the wider pattern mics versus getting the reach needed to isolate dialogue from the background noise due to higher distances often demanded by the camera angle. Pick your poison.

Very popular condenser microphones offered at LSC include: AKG, Audio-Technica, Beyerdynamic, Neumann, Schoeps, Sanken, and Sennheiser.

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