Sony Xperia Z1 Kullanıcı Kılavuzu - Sayfa 17
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The boom operator needs to hold the mic as close as possible to the desired sound without getting the mic
in shot. This can be difficult and tiring, so allow time for a new boom op to practice and get used to it.
You also need to allow time to get mic positioning just right. It's no good to start shooting if the boom
op's arms are going to get too tired and collapse halfway through a shot!
With enough practice, the boom op can also 'swing' the boom to follow a character as they move and
speak or follow some footsteps passing.
The boom op will be connected to the camera during recording. He or she needs to be able to keep their
XLR cables and headphone cables as neatly looped as possible and available to be extended when
necessary. Trailing cables are messy and can be dangerous on a shoot. Always disconnect the boom op
from the camera when changing your setup.
Radio mics
Radio mics can be attached to actors or interviewees so that their voices can be recorded as they move
around without getting a mic poking into shot.
The radio mic kits are self-powered, so put the batteries in and make sure they're charged. When you
have finished with the radio mics the batteries should always be taken out again. Turn off the phantom
power on the XLR input.
Try to tuck the wires in and stash the transmitter pack somewhere on your subject's body where it will
not be seen, crushed or knocked. Clip the little mic to their clothing at the neck, as near to their mouth as
possible while remaining inconspicuous.
Monitor the sound coming into the camera. If there is too much rustling from clothing you will have to
adjust the mic placement.
Attach the receiver pack to the hotshoe on the top of the camera or clip it to the velcro handle on the
side.
If the radio mics are switched on and seem to be working, and the inputs are correctly set on the camera,
but you are not getting any sound- it may be that the radio frequencies are out of sync. You can change
these using the buttons on the packs. Make sure they are the same for transmitter and receiver.
Lip mic
mouth, so if it is any further away than that the signal drops off rapidly.
The lip mic will still record other sounds, but they should not be at a level where they will interfere with
the clarity of the voice recording.
If you want no other sounds at all you should find a very quiet place to record. A small space with a soft
lining to the walls is ideal- a wardrobe or coat cupboard perhaps!
Setting up the camera for external mics
Go into the menu and select the musical note icon for the Audio submenu.
Scroll down to Mic Select, and select 'XLR'.
Then go back to the Audio submenu and scroll down to 'XLR set'.
If you are using one external mic, select Ch1,Ch2. This means that the mono input from the one mic will
be duplicated onto both tracks of the stereo audio on the tape.
If you are using two external mics plugged directly into the camera, select Ch1 + Ch2. This will lay
down each mic input as a separate track on the tape.
We have one mic that is designed for recording clear
voice-overs in a noisy environment. It was designed
for sports commentators.
The lip mic should be held as close as possible to your
mouth without affecting the way you speak. You
should check by speaking into it that you are getting a
decent level. You should be able to get a good level
speaking normally with the mic right up against your
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