Capturing Room Tone
So let's talk about room tone. You're gonna need it for every location that's being recorded in. Room tone is as important as white balance. Okay, it's nonnegotiable. You will kick yourself time and time again and here's the thing, you can't go back another day and get a room tone, because there's things that may have moved in the room, sound will respond a different way. You won't have all the equipment set up in there in the exact same way, right. There isn't a way to replicate the sound in that room, of that day, of that moment. So you have to get it at that time. So much can change. You know, for all you know, a giant construction thing could be pounding the ground outside of your shoot space, right. You don't know, okay. You don't know when you're gonna be able to get back in the space anyway. So it's nonnegotiable, you have to do it. And I can't tell you have it saved me in this edit. Okay it really did. And then I'm overboard when I say get room tone. Okay two minutes. You end u...
p only ever using a few seconds. Okay you end up using just a smidgen of it. You use the portion that really, really gets you kind of like locked in and dialed in, but then you're just kind of like safe, you're safe. You're just safe, okay. And then that is if you gotta get people out Get em out, get em out. That means like someone fumbling with their shirt. You know like, fidgeting, like get them out. There's no, it's nonnegotiable. Either they quite and don't say anything, don't fidget, stay off their phone , whatever or they get out. Okay, now we did do a little bit of room tone to kinda show you how I did it. So here we go. Before you wrap, before you strike anything, before you move anything, the last most fundamental thing that you're gonna do before you vacate the premise, is to get what's called room tone. Room tone is essential and it's gotta be for at least like a minute 30 seconds, you gotta get a good amount of room tone, cause you don't know what portion of that room tone you're gonna end up using. Now I'll go over what room tone is for later, but generally speaking my rule of thumb is to use the microphone that I recorded the sound from. That way there is no differences in the overall quality of it and then I'ma gonna just let it run. A lot of times what I'll do just to prevent people from messing up the room tone, I'll just start the recording and then I'll walk out with everybody and then we'll go back in. You know so it's just kind of like to be able make sure that we get quality room tone, just for everything that we're going to be doing in the editing room. So again I turn the mic on, put it where your client was, let it record, and then come back a minute later. So you know when we talk about capturing great sound, it's getting the room is really important. So stuff will reflect sound, just like light and it will effect the quality of the sound you are capturing. So in that specific space I was really lucky, cause it was all soft spaces. But if I was in an open room, that was echoey and hard and bouncy, I would have needed to throw down some sound blankets. I would needed to hang up some curtains, so that it would have baffled some of that. Some of the sound reverberation. You wanna get clean, clean audio and if there's an echo in there it's not going to be very pleasing. Okay so remember what I said. Walk into a space and listen to the room. You know a really, really good test. You know, is just gonna do a clap. If you clap if you clap and then it echos, you got a problem. You gotta find a way to cut that down. If you clap and it just kind of trails off like a normal clap would, then that's something you're just in a good space for. Okay and a couple tips for like speaking or getting an interview set up properly is I tend to not like having people speak into a corner, cause what'll end up happening is if they're too close to that corner, it's just gonna bounce back and it's gonna really really effect it. I generally like to have them however, not to have some some baffling on the side, so walls or just something that's gonna help absorb any kind of reverberation. And if you have to set up curtains or whatever it is, typically like on the sides, and in the back, and then as it somewhere behind the camera to kind of capture it as it hits toward and goes forward. You know just common sense type of stuff. You know where, you know if you just listen and you just pay attention, you can really just do a really great job. I also like to put stuff down on the ground. That's gonna help absorb some of the sound waves as well, because in lieu of like hanging stuff from the ceiling it just gives me a nice space to work in that kind of just absorb sound.
AFTER THIS CLASS YOU’LL BE ABLE TO:
- Confidently make a movie from start to finish
- Expand your photography skills to motion pictures
- Tackle pre-production and post-production essentials
- Capture video and audio expertly
- Edit in Adobe Premiere Pro and Audition
ABOUT VICTOR’S CLASS:
Photography and videography have several things in common -- but what about factors like audio and telling a story using video editing? In this filmmaking class designed for photographers, learn how to use the DSLR or mirrorless camera that you already have to capture high-end videos. In this start-to-finish course, you'll master everything from planning to post-production. The goal of the class is to teach anyone how to create a video from start to finish.
Dive into video production from the planning and pre-production phase, where you'll learn how to choose an idea, scope out locations, research the client, and more. Jump into video gear -- and what's really necessary on a low-budget -- and learn the essential filmmaking tips for recording. Discover how to capture excellent audio and tackle those B-Roll shots.
But this filmmaking course doesn't just teach you how to use editing software -- you'll learn the editing process, start to finish, from storyboarding to exporting. Work in Adobe Premiere Pro to perfect your footage and Adobe Audition to fine-tune that audio. Tweak color in DaVinci Resolve. Add soundtracks, titles, and keyframes. Then, finalize and export your project.
WHO THIS CLASS IS FOR:
- Photographers eager to add motion pictures to their repertoire
- Beginner filmmakers
- Self-taught filmmakers ready for additional insight
SOFTWARE USED: Adobe Audition, Adobe Premiere Pro, DaVinci Resolve
ABOUT YOUR INSTRUCTOR:
Previously a photographer, Victor Ha is now a filmmaker. His experience working with both stills and motion pictures helps him guide other photographers through the same process, from photo to video. He's known for his straightforward, practical teaching style that's easy to follow along with.