Location Sound Workshop (for Film & TV)

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This Location Sound Workshop (for film & TV) workshop will focus on both mixing and recording and will look at a wide variety of microphones and techniques, as well as the theoretical background information you need. It is aimed at all those who need to improve their sound mixing and recording techniques. Whether you’re looking to start a career in location sound mixing and recording, or are a director looking to find out how to get better sound for your film, or an independent filmmaker looking to get another string to your bow, this location sound course is for you.

This intensive course runs over a weekend, and classes take place at Film Oxford from 10am until 5pm (6 hours tuition per day with 1 hour of breaks per day). It is aimed at people who have taken a beginners filmmaking course or had some practical filmmaking experience (not for complete beginners).

Workshop led by Dan Harbour
Dan is a Skillset-trained location sound recordist with experience in short films, features, factual and corporate video. He has experience recording on solid state, digital and Nagra formats for 16mm and 35mm productions and mixing direct to camera when working with RED, HDCam, XDCam and Digibeta formats. Dan started in live sound mixing 12 years ago and still co-runs a live PA company when he’s not on set. Notable productions Dan has worked on include the urban gangster feature, Rollin’ with the Nines (Best Feature, Raindance 2006), Robbie Williams in Venice (2013) and Bhutto (winner at International Documentary Association, nominated at Sundance and Emmy 2010).  Clients include Universal, ITV, News Corp, Impossible Pictures, Intel, Amnesty International, Sandstorm, Firehouse, Oxford University and Blenheim Palace

 

Covid-19: Safety is our number one priority. This course will follow these social distancing advice (until government advice changes): Each person will sit at an individual desk. Shared equipment sanitised between users. Learners are expected to bring their own face covering to wear (or be provided with a disposable one). Staff will wear face coverings. The training is held in a large, well-ventilated room. Hand sanitiser, wipes and gloves will be available. Full refund if we must cancel the course due to any restrictions.

Comments

Lou- Dan has that rare quality of teaching a potentially heavy-going subject and making it enormous fun and understandable.

G. O’D. – makes a complex subject enjoyable.

CW- Really excellent course- very high standard of teaching and content exceeded what I’d hoped for!

 

Location Sound (for film & TV) Workshop course details:

Day 1 – Intro to Sound, Equipment & Professional Mixing

10:00 Introduction

1. Registration, aims & objectives of the course
2. Discussion about previous experiences of sound recording

10:20 Overview of sound in Film & Broadcast

1. Importance of sound and common mistakes/misconceptions
2. Jobs and roles within the industry
3. Sound-gathering formats
4. Examples of good practice

10:50 Introduction to basic sound kit

1. Mics, cables, mixers, cans, poles & their uses

11.15 Introduction to microphones: how they work & how to use them

1. MKH 416 cardioid boom
2. MKH 50 hyper-cardioid boom
3. D230 dynamic reporter’s mic
4. ECM 77-b personal mic
5. EW-112p radio mic
6. Pro-42 boundary mic

11:45 Practical exercise – recording with different mics

12:30 Lunch

1:30 How does sound actually work?

1. Waves & phase
2. Sampling & frequencies
3. Mono & Stereo
4. Phantom power
5. Feedback
6. Signal routing
7. Mic & line levels

2:00 Recording to camera

1. Inputs
2. Monitoring
3. Menus
4. Consistency & quality

2:20 Recording via an SQN mixer

1. Setting up the camera to receive optimum signal
2. Setting up the SQN
3. Gain & attenuation
4. Bass roll-off & limiting
5. Panning & tone
6. Mixing & monitoring for quality & consistency

3:00 Practical exercise – ENG sound acquisition

3:45 Practical exercise – documentary sound acquisition

4:45 Summary/Q&A

5:00 End of day 1

 

Day 2 – Recording, Planning, & Shoot Techniques

10:00 Recap of day 1 and further Q&A

10:20 Introduction recording equipment

1. Fostex, nagra, tascam & HHB

10:40 Theory of recording

1. Pros & cons of separate sound recording
2. DAT vs. solid state
3. Crew & mic set-ups for drama
4. Multi-tracking

10:50 Setting up to record

1. Preparing the media (striping, formatting, tone, labelling)
2. Recording options
3. Logging options
4. Monitoring
5. Processing audio

11:10 Practical exercise – basic recording on DAT & memory card

11:40 Booming techniques for drama

1. Choice of mic & setting up
2. Correct handling of the pole
3. Angling and proximity of the mic
4. Tips & techniques of capturing clear sound

12:00 Practical exercise – effective booming

1:00 Lunch

2:00 Essential pre-production sound planning (interactive)

1. Scouting the location
2. Working with the director and DP
3. What to look for in the script
4. Choosing the right equipment
5. Post-production considerations

2:30 Essential shooting techniques (interactive)

1. Sound-proofing and sound-absorption
2. Rigging mics and attaching mics to actors
3. The sound man vs. the off-set crew!
4. Tips for managing different sound environments
5. Liaising with the Director & DP on set
6. Wildtracks, guidetracks & atmos.
7. Logging in the sound report
8. Keeping it clean & clear: recording tips & tricks

3:00 Practical exercise – mixing, recording & problem-solving on a mock set

4:30 Summary/Q&A/Resources

5:00 End of workshop

office@filmoxford.org

All Film Oxford Courses are subsidised by Oxfordshire Adult Learning