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Pros make a habit of recording background sound at each shooting location so they can add it to the mix later if needed. You can sometimes loop a small clip of background sound to make it last longer. Review your recordings and listen for portions where there is only background sound, without dialogue.

It’s possible you recorded enough natural sound when you were on location. You could try to recreate these sounds with sound effects, or you could go back to the store and just record the store’s natural sounds. For example, in order to have an authentic grocery store experience we need the natural sounds of beeping scanners, squeaky shopping carts, a murmur of conversations and the mundane music played over the store’s sound system. There are situations when filmmakers may need to add “natural sound” (also known as background or ambient sound) to a piece of audio captured in a studio. Lots of hard surfaces make for a vibrant, or “live” room soft surfaces make for a quiet, or “dead” room.

Soft surfaces absorb sound and include carpets, draperies, upholstered furniture and even people. Hard surfaces generally reflect sound and include tiled floors, glass, painted walls and hard plastic chairs. Let’s look at the factors that contribute to the room’s character. The challenge here is to get two pieces of audio captured in different rooms to sound the same. Room PersonalityĮach room has its own unique acoustic personality. Want to make a politician sound like they are addressing a huge arena, even though they are in a recording studio? Add reverb. This phenomenon, called reverberation, can give an audience helpful clues to determine the size and acoustic characteristics of the recording location. In this example, the professor’s voice bounces around the room — each reflection arrives at the microphone at slightly different times creating a chaotic cacophony of sounds.

Like attempting to record a college lecture from the last row in the classroom — especially when the professor is writing on the whiteboard with her back to the class. Slow speed is the cause of that cavernous sound when the mic is too far from the sound source. The sluggishness of sound travel causes filmmakers countless headaches. We know this from our own experiences with fireworks and lightning — we see the flash of light before hearing the sound. That may sound fast, but it’s downright lethargic when compared to the blazing speed of light at 983,000,000 feet per second.