There's a great art to miking a vehicle,
and there's no one fixed way.
The fun part is how do you mic an onboard,
an in-motion recording.
A pretty typical setup might be
a microphone on the muffler.
By its nature, the sound of a vehicle is coming
out of its muffler.
Most of its sound is coming out of its muffler.
So that's a point that you wanna be capturing,
not only from the exterior recording of the vehicle,
but when you're doing your interior recordings
or what we call onboards.
And we do those in separate passes.
We'll do all the exterior maneuvers, start and drive away,
in and stop, passbys, and then we'll re-rig
and put microphones all around the vehicle
for what we call the onboards because we're gonna be
in motion all the time.
Then we'd like to have an interior perspective
of the vehicle.
I like to have at least a quad setup
because if the perspective of the camera
is you're inside the car, you wanna feel like
sort of there's a left right and a left right surround
so you feel like you're inside the cockpit of the car.
So I wanna have some interior cockpit feel behind me.
Then there's a lotta controversy
about how do you mic the engine.
I don't particularly like the sound
of microphones in the engine compartment,
though many like to record that way,
because I feel you get too many of the mechanics
that you don't actually hear when you're inside a car.
Nobody shoots a movie from inside the hood.
They shoot movies from inside the passenger compartment.
So you should, my favorite way is to place some microphones,
spot mics, right up by the firewall,
right behind the dashboard and get that engine perspective
so that if you're gonna rev it and do some kind
of performance-based driving, you get a decent feel
for the engine without the tap it clatter
or the valve train and the air compress,
the air conditioning compressor squeal.
You just don't want all those miscellaneous sounds
because they're very mechanical and clattery
and I think distracting in a scene
about probably two people talking.
Unless it's a movie about cars, I mean,
if it's a Fast and Furious,
that's a very different aesthetic, and again,
that recordist, that person capturing that sound,
is gonna take into consideration the kinds of sounds
that you want.
I know in those Fast and Furious movies,
you cut to the engine compartment and you see the blower
or the super charger.
In that case, you probably wanna have two or three mics
inside the engine compartment because you wanna hear
those flaps open up and you hear the carburetors
open and breathe in gasoline down into the manifold.
So you're kind of, you're thinking creatively
based on the movie when it comes to where
your microphone's gonna be placed.
Then there are other, it depends on what you,
if it's an old farm truck and he's bouncing along
in the back 40, you might put a microphone or two
in the wheel wells because you wanna capture
the suspension creaking.
It's an old farm truck, you might wanna hear the dirt
and the rocks kicking up inside of the wheel wells.
That's a classic sound of driving along the farm.
If a car or an old farm truck, and we just did this,
part of your full,
part of your workup might be suspension squeaks.
Because it's fun to like get in the back of the car
and like push on the back corner of the bed
and go that (squeaking)
and those are nice sweeteners you can add
as you're bobbing along inside the cab,
checking out the back 40.
Part of what we're trying to create is verisimilitude.
If we can convince the audience that you're in that vehicle,
then they more quickly suspend disbelief
and sign in to,
sign on to whatever's happening dramatically.
So anytime we can make a vehicle sound like
it's what it really sounds like,
we've helped the filmmaker tell a little bit of the story.
For more infomation >> How Electric Vehicle Batteries Could Be Used to Power Entire Cities - Duration: 5:50. 
For more infomation >> Vehicle crashes into building - Duration: 2:02. 
For more infomation >> Vehicle fire on I-20 - Duration: 0:49. 
Không có nhận xét nào:
Đăng nhận xét