Sound Question

[Scott Lamoreaux]

Stupid question probably but when there is an extreme wide show and there clearly isn't a boom mic anywhere near the talent how is sound recorded? I've seen in some movies and the dialog lines up perfectly with what their mouths are saying. Is this recorded later in studio?

Also when you have a dialog back and forth between two people. I know if working with a single cam you will do the scene over and over (at least 1 time for each angle). When recording sound, which sound clips takes priority?

Thank you,

Scott

 

[Jim Hoffman]

In the wide shot: typically talent would wear body mics if costuming allows. It is also common to place mics on set hidden by items in the scene. I have experienced times when there is a locked off shot and the director wants to use original audio so a boom is in the frame and then comped out later. Many times though the dialogue is replaced via adr or lines recorded on set from a different take.

As for your priority question: it's always a good idea to get everything you can from the original performance. Body mics are good. Boom is usually preferred. The priority is usually given to the talent on camera in the scene. If necessary sometimes multiple boom operators are brought in for coverage. These aren't rules but guidelines. Sometimes creative decisions call for a different approach.

As a side note a good sound crew on set is worth their weight in gold. The most you have to work with the better. Nothing kills great pictures faster than bad sound. Good sound can sometimes save pictures that aren't ideal.

 

[Marc Wielage]

Stupid question probably but when there is an extreme wide show and there clearly isn't a boom mic anywhere near the talent how is sound recorded? I've seen in some movies and the dialog lines up perfectly with what their mouths are saying. Is this recorded later in studio?

They can use wireless mics and concealed lavs, but there's often a very good chance the sound you're hearing was actually recorded in the 2-shots and singles, not the wireless. Sound and picture editors often mix and match sound from different takes and different shots in order to better serve the edit. The hope is that the actor's performances are close enough that the sync will work, though it often takes some tweaking in order to get it right. Great sound editors can do this so well, you'll be absolutely unaware where the switch is from close-up to wide to medium or from boom to lavs. And in some cases, ADR or wild lines are used in cases where the location dialogue doesn't work.

 

[Scott Lamoreaux]

Wow thanks guys! Learning every day.

 

[Stephen Pruitt]

It's shocking how often you'll dialog not match on an in-frame but not the subject over-the-shoulder shot on major films. You'll see the actors move their mouths, but nothing comes out, or at least nothing that's in sync with their movements.

Stephen

 

[Marc Wielage]

It's shocking how often you'll dialog not match on an in-frame but not the subject over-the-shoulder shot on major films. You'll see the actors move their mouths, but nothing comes out, or at least nothing that's in sync with their movements.

That is true. I know several major A-list sound mixers who cringe when they see weird sync from alternate takes used on over-the-shoulder shots. But I see this happening all the time, especially on TV. Performance overrides everything.