Stabilizing speakers during a dialogue sequence?

[peacemaker]

Hi:

In one of the books, I read, the director can lessen the sound crew's difficulties by stabilizing speakers during a dialogue sequence. Does that mean, during dialogue sequence, actors don't move (that much) so that microphone can stay same and be on the speaker's axis all the time? I don't understand what stabilizing speakers means.

Thanks.

 

[directorik]

Seems like you might be right. Hard to know without reading the context in which
the author of the book put this. What book did this come from?

If you're relying on dialogue tracks recorded on set/location - as almost all of
us no budget filmmakers do - then a really good boomOp is essential. If you
don't have one limiting the moves of the actors might be a good way to record
clean (no extra sounds or noise) dialogue tracks. Could that be what the author
meant? I have so many books, I wonder if I have the one you mention.

 

[peacemaker]

Seems like you might be right. Hard to know without reading the context in which
the author of the book put this. What book did this come from?

If you're relying on dialogue tracks recorded on set/location - as almost all of
us no budget filmmakers do - then a really good boomOp is essential. If you
don't have one limiting the moves of the actors might be a good way to record
clean (no extra sounds or noise) dialogue tracks. Could that be what the author
meant? I have so many books, I wonder if I have the one you mention.

Thank you for your reply.

Book: Directing my Michael Rabiger

Context:

SOUND SOURCE TO MICROPHONE DISTANCES

Getting microphones close enough to actors on the move so you can record well is a rare skill. The boom operator’s main task is to stay just out of frame at all times, but also near the axis of each speaker. Not doing so means that sound levels plummet as the mike-to-subject distance increases. Ambient sound levels, however, remain constant. Thus the ratio of source to ambient sound can vary a lot. Cranking up the playback level afterward in the mix can compensate for the drop in source level and make the speaker’s voice consistent from angle to angle, but at the expense of large changes in the ambient levels that were recorded with each angle.

The fundamental problem is that film-shooting procedures are usually optimized for photography. Sound recording must fit around the needs of the camera and at the same time keep its microphones from ever being visible. The director can help by stabilizing speakers during a dialogue sequence, minimizing sound recording problems, or creative set dressing so a nice potted plant on a dining room table conceals a strategically placed microphone.

 

[AudioPostExpert]

I don't understand what stabilizing speakers means.

"Stabilizing speakers" is not a standard or recognised term but in this context I believe the author means; reducing actors' movement while delivering lines. This would make it easier for the boom op to maintain the position of the mic relative to the actor. If the actor is moving, the boom op has to move the mic at exactly the same speed/direction to maintain it's relative position. Unless the boom op can achieve this with a high degree of accuracy, the signal to noise ratio will vary, which is a problem in audio post.

At the very low budget level, few can afford a skilled enough boom op or skilled enough audio post personnel, so I understand that the author is recommending "stabilizing speakers" to minimise the impact of this limitation of human resources. On the other hand, minimising actors' movement can easily lead to static, uninteresting visuals AND static, uninteresting audio and therefore a boring overall combined end result, which is also the kiss of death to a film. At the end of the day, it doesn't matter how good your audio or your visuals are, say 1 minute into your film, if after 30 secs your audience have clicked on another video and aren't watching any more! There are a number of potential ways around this problem but the advice to "stabilize speakers" needs to be taken in a wider context and quite strictly limited.

G

 

[peacemaker]

Thank you.