Preparation. References: Stinson, Jim. (2012). Digital: Video communication and production. Tinley Park, IL: Goodheart- Willcox Company.

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1 -a Lesson Plan Course Title: Session Title: Audio Video Production Audio Basics Lesson Duration: Approximately two to three days Day 1 Introduction, slide presentation, demonstration, & Guided Practice Day 2 Independent Practice & Audio Basics Review Day 3 Exam and Extension Activities, if time permits [Lesson length is subjective and will vary from instructor to instructor] Performance Objective: Upon completion of this assignment, the student will demonstrate the basic setup and manipulation of audio for video productions. Specific Objectives: 1. Explain the properties of audio for video production. 2. Compare dynamic microphones to condenser microphones. 3. Identify different pickup patterns for microphones. 4. Select proper microphone uses for various recording situations. TEKS Correlations: Preparation (C) (11) The student develops a basic understanding of audio and video production. The student is expected to: (B) employ knowledge regarding use of audio by: (v) understanding various microphones based upon type and pickup patterns; and (vi) understanding various audio cables and connectors. (13) The student understands the production process. The student is expected to: (C) understand audio techniques, including microphone variances and sound mixing. Instructor/Trainer References: Stinson, Jim. (2012). Digital: Video communication and production. Tinley Park, IL: Goodheart- Willcox Company. Zittl, Herbert. (2011). Television production handbook. Belmont, CA: Wadsworth Thomson Learning. Instructional Aids: Audio Basics Slide Presentation Audio Basics Studio Lab Assignment Audio Basics Review Audio Basics Review Key Audio Basics Exam Audio Basics Exam Key 1

2 Materials Needed: None. Equipment Needed: Wireless lapel microphone Handheld microphone Boom pole Shotgun microphone XLR cables Audio mixer Learner Paper/spiral notebook Pen/pencil Introduction MI Introduction (LSI Quadrant I): ASK: How many of you would prefer to spend your money at the theater watching a silent movie (instead of listening to actors say their lines) where you would have to read every line of script? There would be no sound effects, only music. Imagine watching one of your favorite action movies this way. SAY: This is how movies began. But it didn t take long for film producers to realize that in order to get a more realistic experience watching the film, viewers had to hear the movie as well as see it. Amateur filmmakers would spend a lot of time focusing on making their video/film look great. But if they didn t ensure that the actor s dialogue was clear and easy to understand, the viewer would have a frustrating time following the film. Getting good quality audio is just as important as telling the story visually. Today, we will discuss the basics of audio for television and video production. We ll discuss how to evaluate good audio, the difference between types of microphones, and how to use them. 2

3 Outline MI Outline (LSI Quadrant II): Instructor Notes: I. Explain the properties of audio for video production. A. Sound 1. Loudness measured in decibels 2. Frequency measured in Hertz B. Loudness 1. dbspl (sound pressure loudness) a. Measure of acoustic power b. Sounds we can hear with our ears c. 135 db is considered threshold of pain 2. dbm a. Unit of electrical power b. Measured with VU meter c. Live production, 0 maximum sound d. Post-production between -12 & -6 db C. Frequency 1. Basic pitch of sound (high/low) 2. Audible (hearing) range: 20 Hz 20,000 Hz 3. Common hearing range: 50 Hz 15,000 Hz D. Acoustics 1. Reverb remaining sound 2. Hard walls & tile floors allow too much reverb 3. Too much soundproofing causes dead sound Note: Begin the slide presentation here. 135 db is the point at which damage to hearing can occur VU meters can be digital or analog 0 also called Unity 0 should not be reached 20 Hz extremely low 20,000 Hz extremely high The ideal room for recording has freestanding, sound-absorbing items (i.e. furniture; rugs). II. Compare dynamic microphones to condenser microphones A. Dynamic 1. Pros a. Rugged and durable b. Great for ENG (electronic news gathering) c. Low cost d. No power necessary 2. Cons a.larger and heavier b. Not the best choice for quality audio B. Condenser 1. Pros a. More sensitive b. Better quality c. Can be smaller 2. Cons a. Sensitive to shock and temperatures b. Needs power c. Expensive Dynamic microphones use a small coil that moves within a magnetic field when activated by sound. Condenser microphones have a plate that moves against another plate to produce a signal. 3

4 C. Ribbon 1. Uses a small ribbon moving in a magnetic field 2. Similar to condenser mics in pickup quality and sensitivity 3. Produces warm, rich sound 4. Very sensitive to rough handling 5. Rarely used outside an audio booth III. Identify different pickup patterns for microphones A. Omnidirectional B. Unidirectional 1. Focused hearing in one direction 2. Cardioid heart-shape pickup pattern 3. Hypercardioid narrow pickup pattern with a long reach (for distances). IV. Selecting microphones A. Handheld Held by the talent 1. Advantages a. Allows talent to control mic s location b. Reporter can move it closer to interviewee c. Singer can hold it closer d. More durable for Field Reporters e. Better sound quality for singers 2. Disadvantages a. Can be distracting b. Talent s hands are not free c. Sound quality depends on placement B. Lavalier 1. Advantages a. Allows Talent to move freely b. Mic never moves c. Sound is consistent 2. Disadvantages a. Each on-camera subject requires a mic b. Requires proper setup and placement c. Clothing may rub mic or muffle sound C. Boom 1. Unidirectional 2. Picks up sound without being seen 3. Mounted on the end of a telescoping pole 4. Pole can be held above or below the talent D. Desktop 1. Mounted on a small stand 2. Used for fixed positions 3. Used in game shows, speeches, & churches E. Headset 1. Allows freedom of movement 2. Can include earphone for talkback A small ribbon, rather than a coil, moves in a magnetic field. Omnidirectional patterns pick up sound in all directions. The proper microphone should be selected based on the recording situation. If possible, show examples of each microphone. Lavalier mics are small, rugged, & omnidirectional. They are usually clipped to shirts, ties, lapels, or collar six to eight inches below the talent s chin. A lavalier may either be worn under clothing (to hide wires) or on the outside of clothing. Also called a Shotgun mic Headsets are often used by sportscasters, musicians, performers, and public speakers. 4

5 F. Wireless 1. Involves mic with transmitter & receiver 2. Comes in any style 3. Allows complete freedom of movement 4. Transmits through frequency bands G. Windscreens 1. Filter out wind noise 2. Made of acoustic foam rubber 3. Windsocks a. Used for shotgun mics b. Ragged cloth pulled over a windscreen UHF Least interference, but more expensive VHF Less expensive, but more likely to interfere Windscreens are designed to filter out wind noise, but let the normal sound frequencies through. Application MI Guided Practice (LSI Quadrant III): In the studio, the instructor demonstrates the following tasks: The proper setup of handheld, lapel mic (wired or wireless) and boom mic to audio mixer How to operate the audio mixer by mixing the different inputs and monitoring their levels How to perform mic checks MI Independent Practice (LSI Quadrant III): Using the Audio Production Studio Lab Assignment, students will demonstrate proper techniques for setting up and testing audio production equipment in the studio. Each student should setup the mics using other students as models or grips. Each student should also mix the microphones as the models give mic checks. Make sure audio levels are appropriate for a live production. Summary MI Review (LSI Quadrants I and IV): Students will use their notes to complete the Audio Basics Review Handout. Students may work on this assignment concurrently while the lab exercise is going on. Evaluation is based on a 100-point scale. Evaluation MI Informal Assessment (LSI Quadrant III): Assess students during the lab assignment, monitoring their progress and giving guidance and correction when needed. Evaluate for completion based on the lab instructions. 5

6 MI Formal Assessment (LSI Quadrant III, IV): Students will complete the Audio Basics Exam. Evaluation is based on a 100-point scale. Extension MI Extension/Enrichment (LSI Quadrant IV): Have students separate into smaller groups and perform the same lab exercise in the field using camcorder kits. Have them record their results for evaluation afterward. 6

7 Properly place a wireless Lavalier mic on another student. Connect Lavalier mic and a handheld mic to audio mixer Setup shotgun mic on boom pole Demonstrate proper placement of boom mic Demonstrate proper operation of audio mixer by adjusting all microphones Total Score Audio Basics Studio Lab Assignment INSTRUCTIONS: Have students perform the following tasks. Check for completion of the task. The exercise will require the following items: wireless Lavalier mic, handheld mic, shotgun mic, boom pole, XLR cables for each, and an audio mixer. If the student demonstrates the task without help, place a + in the box (worth 20 pts). If the student demonstrates the task with minor assistance, place a (worth 16 pts.), and if the student has difficulty demonstrating the task even after being shown, place a - in the box (worth 12 pts.). Students from period

8 Name Define: 1. Loudness 2. Frequency 3. Threshold of Pain 4. Omnidirectional 5. Unidirectional 6. Cardioid 7. Dynamic Microphone 8. Condenser Microphone 9. Ribbon Microphone 10. Windscreen Audio Basics Review Date List: 11. Identify five different ways mics are used and where they might be used: a. (ex.) Handheld mics are used by field reporters b. c. d. e. Pros Cons Adv. 12a. Identify pros and cons for each mic type: Dynamic Mic Condenser Mic 12b. Identify advantages and disadvantages for each mic type: Disadv. Handheld Mic Lavalier Mic 8

9 Explain: 13. Describe how to properly place a lav mic for each clothing option: Under clothing Outside clothing 14. Explain reverb and how to avoid it in a sound booth: 15. Explain the difference between wireless mics using UHF frequencies and VHF frequencies: 9

10 Name Audio Basics Review Key Define: 1. Loudness Measure in decibels of acoustic power 2. Frequency Measure in Hertz, basic pitch of sound Date 3. Threshold of Pain Point at which permanent hearing damage can occur; 135 db 4. Omnidirectional Pickup pattern for microphones that accepts sound all around the mic 5. Unidirectional Pickup pattern for microphones that focuses on sounds in one direction 6. Cardioid Heart-shaped unidirectional pickup pattern for mics 7. Dynamic Microphone Rugged, durable mic; uses small coil that moves within a magnetic field to produce a signal 8. Condenser Microphone Higher quality, more sensitive mic requiring power; uses a plate that moves against another plate to produce a signal 9. Ribbon Microphone Extremely sensitive, used only in audio booths; uses a small ribbon (rather than a coil) to produce sound 10. Windscreen Acoustic foam rubber designed to let normal sounds through to a mic and blocks out wind noise List: 11. Identify five different ways mics are used and where they might be used: a. (ex.) Handheld mics are used by field reporters b. Lavalier mics are used by news anchors c. Boom mics are used in film productions d. Desktop mics are used in game shows e. Headset mics are used by performers Pros Cons 12a. Identify pros and cons for each mic type: Dynamic Mic Rugged and durable Low Cost No power necessary Larger and heavier Not the best choice for quality audio Condenser Mic More sensitive Better quality Can be small Fragile and sensitive to shock and temperatures Needs power 10

11 Adv. Expensive 12b. Identify advantages and disadvantages for each mic type: Handheld Mic Held by the talent Allows for talent to control mic s location Reporter can easily move it closer to interview Singer can control intimacy of the sound by holding it closer Lavalier Mic Allows talent to move freely Mic never moves Sound is consistent Disadv. Can be distracting (takes up visual space) Talent s hands are not free Quality of sound depends on proper placement by talent Each on-camera subject requires mic Requires proper setup and placement Clothing may rub mic or muffle sound Explain: 13. How to properly place a lav mic: Under clothing Have talent run microphone under the shirt Clip mic to tie, lapel, collar, or button flap Careful of material rubbing mic or obstructing sound Outside clothing Run mic up the back of talent (outside clothing) and over the talent s shoulder near the collar (under collar, if possible) Clip mic to lapel, collar, or button flap Use gaffers tape (on talent s back) to keep the mic cable from moving 14. Reverb and how to avoid it in a sound booth: Reverb sound remaining after the original sound stops; hard walls, tile floors will allow too much reverberation. Too much soundproofing causes a dead, lifeless sound. Ideal room for recording and listening has free-standing, sound-absorbing items (furniture, rugs) 15. Wireless mics using UHF frequencies vs. VHF frequencies: Involves a microphone with a transmitter and a wireless receiver Transmits through frequency bands o UHF Least interference More expensive o VHF Cheaper Most likely to interfere 11

12 Audio Basics Exam Name Date Matching 1. Condenser mic a. Frequency band for wireless mics, little interference 2. Cardioid b. Measure of acoustic power 3. Omnidirectional c. Unidirectional mic often mounted to a boom pole 4. dbspl d. Omnidirectional mic, also called lapel mic 5. Frequency e. Heart-shaped pickup pattern 6. Ribbon mic f. Very sensitive microphone, only used in audio booths 7. Dynamic mic g. Pickup pattern in all directions around the mic 8. UHF h. Rugged, durable mic often used by reporters 9. Shotgun mic i. Basic pitch of sound 10. Lavalier mic j. Higher quality microphone, requires power True/False 11. Windsocks are used for lapel mics. 12. To dress a lapel mic means to hide the wires. 13. Singers should use condenser handheld mics instead of dynamic because the sound quality is better. 14. One of the advantages to condenser microphones is that they don t need power. 15. A perfect sound booth will have no free-standing, sound absorbing structures in it. 16. Reverb is the sound remaining after the original sound stops. 17. In post-production, all audio levels should be between -12 and -6 db. 18. Hypercardioid refers to a pickup pattern that resembles two hearts. 19. Because of its durability and ease of use, reporters often use dynamic handheld mics. 20. A type of wireless headset is called a countryman mic. Fill in the blank 21. A type of microphone that is often mounted to a small stand for fixed position is known as a mic. 22. refers to the pickup pattern of a shotgun microphone. 23. microphones create a signal when a plate moves against another plate after receiving sound waves. 24. The threshold of pain is reached at db. 25. The two basic characteristics of sound are and frequency. 26. The common hearing range is Hz to Hz. 27. A is used to filter out wind noise. 28. Wireless microphones using frequencies are more expensive, but have less chance of interference. 12

13 29. When condenser mics require power, sometimes that power is supplied by the camera or audio mixer. This is known as power. 30. Loudness is measured with meters. Short Answer 31. Compare the pros and cons of dynamic mics and condenser mics: Dynamic Condenser Pros Cons 32. Explain how to properly dress a lavalier microphone with either the under clothing method or outside clothing. 13

14 Audio Basics Exam KEY Name Date Matching 1. _j_ Condenser mic a. Frequency band for wireless mics, little interference 2. _e_ Cardioid b. Measure of acoustic power 3. _g_ Omnidirectional c. Unidirectional mic often mounted to a boom pole 4. _b_ dbspl d. Omnidirectional mic, also called lapel mic 5. _i_ Frequency e. Heart-shaped pickup pattern 6. _f_ Ribbon mic f. Very sensitive microphone, only used in audio booths 7. _h_ Dynamic mic g. Pickup pattern in all directions around the mic 8. _a_ UHF h. Rugged, durable mic often used for ENG 9. _c_ Shotgun mic i. Basic pitch of sound 10. _d_ Lavalier mic j. Higher quality microphone, requires power True/False 11. _F_ Windsocks are used for lapel mics. 12. _T_ To dress a lapel mic means to hide the wires. 13. _T_ Singers should use condenser handheld mics instead of dynamic because the sound quality is better. 14. _F_ One of the advantages to condenser microphones is that they don t need power. 15. _F_ A perfect sound booth will have no free-standing, sound absorbing structures in it. 16. _T_ Reverb is the sound remaining after the original sound stops. 17. _T_ In post-production, all audio levels should be between -12 and -6 db. 18. _F_ Hypercardioid refers to a pickup pattern that resembles two hearts. 19. _T_ Because of its durability and ease of use, reporters often use dynamic handheld mics. 20. _T_ A type of wireless headset is called a countryman mic. Fill in the blank 21. A type of microphone that is often mounted to a small stand for fixed position is known as a desktop mic. 22. Unidirectional refers to the pickup pattern of a shotgun microphone. 23. Condenser microphones create a signal when a plate moves against another plate after receiving sound waves. 24. The threshold of pain is reached at 135 db. 25. The two basic characteristics of sound are loudness and frequency. 26. The common hearing range is 50 Hz to 15,000 Hz. 27. A windscreen is used to filter out wind noise. 14

15 28. Wireless microphones using UHF frequencies are more expensive, but have less chance of interference. 29. When condenser mics require power, sometimes that power is supplied by the camera or audio mixer. This is known as phantom power. 30. Loudness is measured with VU meters. Short Answer 31. Compare the pros and cons of dynamic mics and condenser mics: Dynamic Condenser Rugged, durable More sensitive Pros Low cost No power required Better quality Can be very small Easy to setup Larger and heavier Fragile, sensitive to shock and Not the best choice for quality temperatures Cons sound Needs power Expensive Takes time to set up 32. Explain how to properly dress a lavalier microphone with either the under clothing method or outside clothing. Under clothing Have talent run microphone under the shirt Clip mic to tie, lapel, collar or button flap Careful of material rubbing mic or obstructing sound Outside clothing Run mic up the back of talent (outside clothing) and over the talent s shoulder near the collar (under collar, if possible) Clip mic to lapel, collar or button flap Use gaffers tape (on talent s back) to keep the mic cable from moving 15