FAKULTI FILEM, TEATER DAN ANIMASI (FiTA)

UNIVERSITI TEKNOLOGI MARA (UiTM)

LECTURER NAME:
MR. LUQMAN BIN MOHD OSLAN

 ASSIGNMENT NAME:
BASIC AUDIO EQUIPMENT SETUP FOR LOCATION SOUND RECORDING
(ASSIGNMENT 2)

STUDENT NAME AND MATRIC NUMBER:

PROGRAMME/GROUP:
FFF113/CAFF111A

SUBMISSION DATE:
6TH JANUARY 2023
1.0 INTRODUCTION

The Production Sound Crew, which consists of Production Sound Mixers, Boom Operators,

and Sound Assistants and may optionally include Sound Trainees on larger projects, is

responsible for recording all sound on site or on set. Although conversation plays a

significant role in a script's storytelling and emotional resonance, film is often thought of as a

predominantly visual medium.It can be tough for the sound department to record

conversation on film sets because there are many extraneous noises to deal with or because

the placement of microphones interferes with the ideal camera angles.

Most actors and directors prefer to use the sound recorded on set or in the location, even if it

might often be simpler to re-record dialogue after the shoot (post-syncing). On set or in other

locations, production sound crews also record ambience (without dialogue) or "wild" tracks to

help the postproduction sound department with editing. On set, the production sound crews

collaborate closely. The sound caught by microphones is typically recorded by production

sound mixers off-set onto DAT (Digital Audio Tape) or, increasingly, onto hard disc

recorders. Boom operators are in charge of placing numerous microphones in the best

feasible positions for sound capture and making sure the boom microphone is out of the

way.

On bigger movies, sound assistants might even swing a second boom in addition to

checking all the gear and batteries. Wherever they work, Sound Trainees carry out routine

running tasks and gain experience. The raw resources used by the Post Production Sound

section to help establish the auditory identity of each film are the recorded sound files.
Each member of the Production Sound team must have a solid understanding of acoustics,

electronics, microphones, and digital sound recording equipment in addition to having a keen

eye for detail and great communication abilities. Before beginning at junior levels within

Production Sound departments and subsequently moving up to become Production Sound

Mixers, they often gain some fundamental knowledge of sound recording.

2.0 THE EQUIPMENT

MIXER

The function of a sound mixer is to combine two or more audio signals into one or more

output signals. A straightforward mixer with six inputs and two outputs is depicted in the

diagram on the right.

In addition to merging signals, mixers let you alter levels, add equalisation and effects to

sound, make monitor feeds, record different mixes, and so on.

Mixers are available in a wide range of shapes and sizes, from compact portable devices to

enormous studio consoles. Any sort of sound mixer can be referred to as a mixer; however,
the names sound desk and sound console only apply to mixers that are placed on a desk

surface, as in a recording studio.

Because they contain so many buttons and other settings, sound mixers can be highly scary

to the novice. It turns out that many of these controls are repeated once you understand how

they operate, so it is not as challenging as it initially appears.

MICROPHONES

Emile Berliner created the microphone as an input device in 1877. It is used to enter audio

into computers or transform sound waves into electric waves. By translating sound waves

into an electrical signal which could be either a digital or analogue signal—it captures audio.

Computers and other digital audio equipment are both capable of carrying out this operation.

The first electronic microphone employed a diaphragm attached to a current-charged needle

in a diluted sulfuric acid solution as part of a liquid mechanism. It was unable to duplicate the

understandable speech.

Regularly, in addition to the type of equipment, directionality is taken into consideration while

designing microphones. Omnidirectional microphones, for instance, may pick up all noises in

a space but are unable to focus on a specific subject when there is background noise. For
an interview, directional, shotgun, and bidirectional microphones are useful. However, two

unidirectional devices, such as cardioid microphones, can have the same result.

LAVALIER, TRANSMITTER AND RECEIVER

In contrast to a conventional wired microphone, which converts sound waves into an

electrical audio signal that is then sent to the sound system via a cable, a professional

wireless microphone system instead transforms the audio signal sent by the microphone

into a radio signal that is then delivered to the sound system by a transmitter. The receiver,

which is constantly close to the sound system and is tuned to the same frequency as the

transmitter picks up the radio signal, converts the radio signal back into an audio signal and

feeds it to the sound system through a cable.

At a specific location—likely a theatre, church, or school—every performer using a wireless

lapel microphone system must utilise a device that uses a different frequency. Wireless

systems cannot "share" frequencies together since there would be interference between

them. The attempt to transmit on the same channel by two television stations in the same
city is comparable to this. Both voices will not be audibly heard if two performers continue

to attempt to use the same frequency simultaneously at the same location. The number of

wireless microphone systems that can be employed at one time is constrained by this.

Reputable wireless system manufacturers and dealers would do you a service by helping

you choose the right frequencies for your unique demands.

BOOM POLE AND SHOTGUN MIC

A sound recordist uses a boom pole to position the microphone closer to the actor. The

boom operator is referred to as this individual. The boom operator typically works as the

production sound mixer's helper. However, in low-budget films, the same person frequently

handles both of these tasks. An extensible pole called a boom has a screw at one end to

which you may attach your microphone mount. The boom operator positions the boom so

that the microphone is as close as possible to the speaker's mouth, which is the ideal

distance.
A boom mic is placed at the end of a boom pole and features a highly directed polar pattern.

They are commonplace in movies and videos. They have great directionality (pick up sound

where they point to and reject off-axis sounds). Boom mics can be moved during a

performance since an operator frequently holds them.

XLR CABLE

Live performances and professional recording sessions both employ the use of XLR cables

in audio applications. Three pins and a circular connector are features of XLR cables. An

XLR cable might be considered a simple microphone cable since it is used to transmit

balanced microphone and line-level signals across extended distances. The final audio

transmission will have less unwanted noise from outside electrical interference since XLR

cables may offer a balanced signal. By doing this, the original audio signal is maintained

even when close to other electronic devices and over great distances.
BATTERY, SD CARD, AND CLAPPER BOARD

Battery is used to power up the shotgun mic, audio mixer, and the transmitter and receiver.

So, a lot of battery need to be prepared just in case of low battery and will be helpful for a

outdoor shooting. SD Card is needed to save the sounds that are recorded in the audio

mixer. Lastly, the clapper board is used to sync the audio with the camera.

3.0 SETUP

1) Prepare all the equipment.

2) Put the batteries in the audio mixer, transmitter and receiver, and the shotgun mic.

3) Put the SD card inside the audio mixer.

4) Attach the shotgun mic at the end of the boom pole.

5) Connect the XLR cable to the shot gun mic and audio mixer at the channel 1.

6) Turn on the transmitter and the receiver and make sure they are in the same frequency.

7) Connect the receiver to the audio mixer to channel 2 at the audio mixer.

8) Plug in the lavalier mic to the transmitter and lock it so it would not fall during the shooting.

9) Put the transmitter on the actor.

10) Connect a headphone to the audio mixer and make sure the sound can be heard and all

the microphones are function.

4.0 CONCLUSION

Knowing all the equipment purpose is a basic thing in filmmaking because it is an important

thing in this career field. Other than that, an important knowledge is also to learn on how to
setup all the equipment. It is because sound department is one of the major roles in

filmmaking. They are responsible to make sure all the sound that are recorded is high-

quality. With all the basic audio equipment someone can produce a high-quality short film or

just a video to upload on social media. With this reason they can gain a lot of audience or

viewer because they are interested in a high-quality product.

1. Sound Department

https://thefilmproduction.wordpress.com/production-sound-department/

2. Sound Mixers: Overview

https://www.mediacollege.com/audio/mixer/intro.html

3. What is a Microphone?

https://www.javatpoint.com/microphone

4. How does a wireless mic system work?

https://www.syncoaudio.com/blogs/news/something-you-need-to-know-about-

wireless-mic-system

5. What Is a Boom Microphone? (Applications + Mic Examples)

https://mynewmicrophone.com/what-is-a-boom-microphone-applications-mic-

examples/

6. Best Boom Poles for Low Budget Film

https://momofilmfest.com/best-boom-poles-for-low-budget-film/

7. What Is an XLR Cable?

https://www.techwalla.com/articles/what-is-an-xlr-cable