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Sound & Story: Audio in Video Production
1. NAB NY 2018
SOUND & STORY
FOR NONFICTION
VIDEO CREATIVES
Amy DeLouise
Cheryl Ottenritter
https://www.slideshare.net/AmyDeLouise
2. Getting in Touch with Cheryl
@otthouseaudio
www.otthouseaudio.com
www.linked.com/in/cherylottenritter
www.facebook.com/otthouse
www.Lynda.com/cherylottenritter
Cheryl@otthouseaudio.com
3. Getting in Touch with Amy
@brandbuzz
www.linked.com/in/amydelouise
www.vimeo.com/amydelouise
www.Lynda.com/AmyDeLouise
www.amydelouise.com
amy@amydelouise.com
4. Today’s Agenda
Role of Sound in Storytelling
Preparing for Good Sound
On Location Sound Acquisition
Preparing for Your Mix
Opportunities in Sound Design
5. Role of Sound in Story
Capture the essence of key characters
Create and reinforce story context
Provide an emotional shorthand
Offer elements of surprise and satisfaction
Support the story arc
6. Challenges: A Transmedia World
YouTube
Other web delivery
Live events
Displays
Streaming
Broadcast
Interactives
Mono Compatibility
7. Strategies
Preproduction prep for sound
Sound acquisition for flexibility and good storytelling
Post production opportunities
Wild sound
Foley Sound
Layering
Augmentation and correction
8. Challenges
Wide range in quality of archival sound clips
Reel to reel and cassette transfers
A 1948 recording
Some sound pulled from 3/4” dubs
Strong soundtrack
Pacing and mix for large live event
Additional web delivery of center screen only
9. Workflow
Draft script and look boards
Audio research and transfers
Script and AE keyframes
Final animation script with
audio notes for mix session
Sound design drafts
Final mix
Layback
11. Keys to Nonfiction Field Sound
Location scouting for sound
Pre-Interviews
Prepping the crew
Adapting the schedule for sound
Planning and tools for optimal sound acquisition
12. Scouting for Sound
Use tools for remote scout
Flickr
Google Map street view
OpenStreetMap
Foursquare
Waze
Look at LightTrac for light
but consider timing for sound
13. Setting: Filmmaker Perspective
Story arc essential elements
Setting as a character in
the film
Key sounds to propel
narrative
Impact on sound mix &
design
14. Setting: Impact on Non-Professionals
Comfortable v. Distracting
Welcoming v. Intimidating
Native v. Alien
15. Get to Know Your Subject
Conduct a pre-interview by phone if possible
Why phone better than in person
Make a recording, with permission
Highlight sound keywords to develop sound design plan
Walk and talk pre-interview is an option
Try to find out what kind of learner
16. Prep the Crew
Crew “EQ”
Prep for situation, sensitivities
How intrusive will mic’ing need to be?
What are options for hiding the crew, the mics?
17. Plan Time for Sound
Broll-Interview-Broll strategy
Record more room tone
Multiple room tones not just one in a long interview
If there is sound interference, don’t stop—record it!
Use time efficiently for wild sound gathering
With DAR while setting up next shot
19. The Human Voice
Frequency and Overtones
Watch LF roll off and EQ
Settings during record –
overtones
Flat Recording
Compression
20.
21. Speaking While Doing
More relaxed subject
Audience accustomed to
“reality” TV and Youtubers
Better content for storytelling
Intermix wi/sit-down interview
Prepro planning essential audio
Car audio example
22. Shot Coverage for Sound w/Non-Pros
Shot coverage and
multiple angles
Sliders
Hang a Go-Pro
Shoot tight to wide,
rather than wide to
tight
Share plan early with
mixer/designer
35. Mix & Sound Design
Repair
Support storytelling
Texture sounds
Create moods
Sense of space
Add sound where there is none
36. Tools and Plugins
Sonnex EQ and Compression
Waves Q10 and L3
Fab Filter Limiter and EQ/Desser
Nugen LM Correct
Izotope Ozone and Alloy and Neutron
Izotope Insight
Waves Meter
37. Prepping for Your Session
Quick Time Video with guide audio
AAF or OMF of the project
All original/ raw production audio not in tracks
example wild sound and room tone
XML or EDL
Script
Audio Notes
38. Video for Your Session
QT with Window Burn
Embedded guide audio
Tone and bars from 00:58:30:00 – 00:59:30:00 or refer to
necessary network spec
Slate with countdown starting at 00:59:50:00
Audible and visual 2pop at 00:59:58:00
First frame of program/ show at 01:00:00;00
For example, if the program starts with 1 sec of black before visual, the
first frame of black is at 01:00:00:00
39. Audio for Your Session
OMF/AAF
AAF’s are preferred but OMF’s are acceptable.
OMF from Premiere is preferred over AAF due to a bug – but that could change.
It is important not to include video in the audio only AAF!
Self contained with embedded audio and not link to external media
Handle size of 90 frames
Do Not Render Audio Clip Effects!
If audio clip effects need to be passed along, deliver a separate AAF with only the
effected clips
AAF’s should be well organized
VO, Dialogue, FX and Music should have their own dedicated tracks.
41. Role of Music
Source sound
Signature sound for theme
Pacing, rhythm, story arc, transitions, silence
Living Art – session example
Eli Weisel example
42. Layering in Sound Design
Use nat sound
Add multiple layers for
texture
Avoid auditory
saturation
Hard effects, Ambience,
Cinematic and Red
Umbrella Moments
Feel not see
Not Mickey Mouse and
then combine scenes
Play off the Words to
tell a radio story – but
it’s to picture
43.
44. Authenticity in Sound Design
Nat Sound – record it!
Historically Correct
Sonic Texture and
Quality for Archive
Realism in the mix
48. What We Covered Today
Storytelling Tools and Strategies
Preparing for Good Sound
On Location Sound Acquisition
Preparing for Your Mix
Opportunities in Sound Design
Vital Role of Sound in Storytelling