Behind the Scenes: The Role of a Sound Engineer in Video Production

Sound engineering for video is an art and a science encompassing a wide array of techniques and knowledge aimed at recording, editing, mixing, and mastering the sound component of all visual content. Throughout this blog, we will dive into the multifaceted world of sound engineering, exploring its significance in seamlessly integrating sound with visual storytelling. 

From capturing the subtleties of dialogue on set to weaving intricate soundscapes in post-production, sound engineering is pivotal in breathing life into video content, ensuring that the auditory experience complements the visual narrative.

What Does a Sound Engineer Do?

A sound engineer in video production plays a crucial role in managing and integrating various audio elements to complement and enhance the visual storytelling of a production.

Their responsibilities are extensive and diverse, encompassing:

• Recording: Capturing high-quality sound on set, including dialogue, ambient sounds, and live sound effects, with precision and clarity.
• Editing: Refining soundtracks by removing unwanted noise, ensuring clear dialogue, and creating a cohesive auditory flow throughout the production.
• Mixing: Balancing levels, equalising frequencies, and integrating various sound elements—dialogue, music, and sound effects—into a harmonious mix that supports the overall visual story.
• Mastering: Finalising the soundtrack to ensure it meets broadcast standards and plays optimally across various platforms and devices.
• Sound Design: Creating unique sounds or sourcing effects to enhance the storytelling, adding depth and dimension to the visual content.
• Collaboration: Working closely with directors, editors, and sound designers to ensure the sound vision aligns with the overall creative direction of the project.

Sound engineers apply their technical expertise and creative insights to navigate video production challenges, ensuring that the final product is seen and felt, making an indelible impact on the audience. Through their skilled manipulation of sound, sound engineers play a pivotal role in creating video content that is immersive, emotive, and, ultimately, more engaging.

Skills and Tools

The journey to becoming a proficient sound engineer in video production is paved with the mastery of a diverse set of skills and tools. These competencies enable the creation of high-quality auditory experiences and ensure that sound elements perfectly complement the visual narrative of any production.

CRITICAL SKILLS FOR ASPIRING SOUND ENGINEERS

Sound Recording

Sound recording is the foundation upon which sound engineering is built, emphasising sound capture with unmatched clarity and fidelity.

Key details include: 

• Microphone Selection: Choosing the right microphone for the specific sound source and environment.
• Acoustic Treatment: Understanding and applying techniques to minimise unwanted noise and echo in recordings.
• Field Recording: Skill in capturing high-quality sound in outdoor or on-set environments.
• Technical Knowledge: Proficiency in the technical aspects of sound waves, microphone patterns, and signal flow.

Mixing

Mixing is an intricate blend of science and art aimed at merging individual soundtracks into a cohesive auditory experience.

Key details include: 

• Level Balancing: Adjusting the volume of each track to ensure no element overpowers the others.
• Equalisation (EQ): Shaping the sound by boosting or cutting specific frequencies to enhance clarity or resolve conflicts between tracks.
• Effects Processing: Applying reverb, compression, and other effects to add depth and texture.
• Automation: Utilising automation for dynamic changes in volume, panning, and effects throughout the track.

Mastering

Mastering is the final touch, refining the mix to achieve a polished, unified sound that meets industry standards.

Key details include:

• Loudness Normalisation: Adjusting the overall loudness to comply with broadcast standards and streaming platforms’ requirements.
• Frequency Balancing: Ensuring the mix translates well across various playback systems, from headphones to large speakers.
• Dynamic Range Control: Using compression and limiting to balance the dynamic range, making the track sound cohesive.
• Quality Assurance: Critical listening for inconsistencies or technical issues before final export.

Sound Design

Sound design is the creative backbone of sound engineering, involving generating and manipulating sound elements to support the narrative.

Key details include: 

• Foley Artistry: Creating and recording everyday sound effects in post-production to enhance realism.
• Synthesis: Designing unique sounds using synthesisers for specific moods or elements in the video.
• Ambient Soundscapes: Building immersive backgrounds that complement the visual scene without being distracting.
• Narrative Support: Select and apply sounds that propel the story forward or convey unspoken emotions.

Collaboration and Communication

Effective collaboration and communication are vital, ensuring that the sound engineer’s work aligns with the creative vision of the entire production team.

Key details include: 

• Feedback Interpretation: Understanding and implementing feedback from directors and producers.
• Cross-Departmental Knowledge: Knowledge of other departments’ roles to facilitate smoother interactions.
• Problem-Solving: Offering solutions to sound-related challenges that arise during production.
• Project Management: Coordinating sound post-production timelines with the overall production schedule.

ESSENTIAL SOFTWARE AND EQUIPMENT

A sound engineer’s toolbox is diverse and specialised, encompassing a range of software and hardware designed to capture, edit, mix, and master sound.

Lightworks in Sound Engineering

Lightworks stands out for its robust sound editing capabilities, seamlessly integrating into the sound post-production workflow. With intuitive tools for editing, mixing, and enhancing sound, we offer a versatile platform for sound engineers to refine dialogue, music, and sound effects in sync with video content.

Its features include:

• Real-time sound adjustment, allowing for on-the-fly mixing and effects application.
• Comprehensive support for VST plugins, extending its native sound capabilities with advanced processing tools.
• Flexible routing and automation options enable complex sound setups and dynamic soundscapes.
• Integrated sound library access, providing a wealth of effects and tracks to enrich the sound landscape.

Other Key Sound Production Tools

Sound engineers should be skilled in using various software and hardware tools in addition to Lightworks for their work, including:

• Digital Sound Workstations (DAWs): Software like Pro Tools, Logic Pro, and Ableton Live offer extensive recording, editing, and mixing functionalities.
• Microphones: A selection of dynamic, condenser, and ribbon mics, each suited to different recording scenarios and sound sources.
• Sound Interfaces: Devices that convert microphone and instrument signals into a format usable by DAWs, essential for high-quality sound recording.
• Monitoring Systems: Studio monitors and headphones that offer accurate sound reproduction for critical listening and mixing decisions.
• Field Recorders: Portable recording devices for capturing high-quality sound on location, crucial for projects outside the studio environment.

The mastery of these skills and tools is essential for any sound engineer who wants to make a substantial contribution to the success of video production. By combining technical expertise with creative vision, sound engineers can elevate the auditory dimension of video content, ensuring that it resonates with audiences on a deeper level.

Getting Started in Sound Engineering

Entering the realm of sound engineering opens up a world of creative and technical possibilities. For those beginning this journey, pinpointing the initial steps toward a fulfilling career in sound engineering is essential.

EDUCATIONAL RESOURCES AND PATHWAYS

A solid educational foundation is crucial for budding sound engineers. Various resources and pathways can equip you with the necessary knowledge and skills:

• Online Courses: Digital platforms like Coursera, Udemy, and LinkedIn Learning offer courses ranging from the basics of sound engineering to advanced production techniques.
• Degree Programs: Universities and technical schools provide comprehensive programs in sound engineering, sound design, and music production, blending academic knowledge with practical studio experience.
• Certifications: Earning certifications from recognised industry organisations or specific software programs enhances your resume by demonstrating specialised expertise.
• Workshops and Webinars: Engaging in industry workshops and webinars can provide insights into the latest trends, tools, and techniques from seasoned professionals.
• Mentorships and Internships: Gaining real-world experience through mentorships or internships at recording studios or production companies, offering hands-on learning and networking opportunities, is invaluable.

BUILDING A PORTFOLIO

A well-curated portfolio is indispensable for showcasing your sound engineering skills and attracting potential employers or clients:

• Diverse Projects: Include a range of projects in your portfolio to demonstrate your versatility in handling various aspects of sound production, from mixing and mastering to sound design and live recording.
• Process Documentation: For each project, detail your contributions, the challenges encountered, and the strategies employed to address them. This showcases your technical skills, problem-solving abilities, and creativity.
• Emphasise Quality: Prioritise the inclusion of high-quality, polished pieces over quantity. Each work should reflect your highest standard and unique style.
• Online Platform: Utilise online platforms or personal websites to host your portfolio, making it easily accessible to prospective employers, clients, and collaborators. Platforms like SoundCloud, Vimeo, or a dedicated portfolio website can be excellent.
• Continuous Updates: Regularly update your portfolio with new projects to keep it fresh and reflect your growing skills and experiences.

STARTING IN THE INDUSTRY

For newcomers to sound engineering, identifying entry-level or junior roles can serve as a stepping stone to more advanced positions:

• Assistant Sound Engineer: Starting as an assistant in recording studios or on production sets can offer foundational experiences, from setting up equipment to basic mixing.
• Sound Technician: Positions as sound technicians for live events, theatre productions, or broadcasts can provide practical skills in sound setup, operation, and live mixing.
• Post-Production Assistant: Working in post-production, even in a support role, introduces you to the workflows of editing, mixing, and mastering, setting the stage for advancement to full-fledged sound engineering roles.
• Internships: Pursue internships in sound production companies, where hands-on experience with recording, editing, and mixing projects under the guidance of experienced professionals can be incredibly beneficial.

Starting your journey in sound engineering is about blending education with practical experience. By exploring educational resources, diligently building a diverse and high-quality portfolio, and seeking out entry-level roles within the industry, aspiring sound engineers can lay down the tracks for a successful and rewarding career in video production.

Conclusion

From capturing crystal-clear sound on set to the intricate processes of mixing, mastering, and sound design, audio engineers play a pivotal role in bringing video content to life. Through education, hands-on experience, and continuous learning, aspiring audio engineers can build a solid foundation for a rewarding career in this dynamic field.

Together we’ve navigated the landscape of audio engineering, offering insights into the profession’s core aspects and practical advice for those ready to embark on this exciting career path.

Additional Resources

For deeper dives into editing techniques and Lightworks tutorials, visit Lightworks Resources. Enhance your skills, discover community insights, and bring your creative visions to life.

Transform your video editing journey with Lightworks. Whether crafting a short film, a documentary, or a personal vlog, Lightworks gives you the tools to tell your story your way. Download now and embark on your path to becoming a master storyteller.

As a location sound operator who’s spent time trying out, evaluating and choosing microphones to purchase for recording sound in the field, I can tell you that the process was a little more frustrating and confusing than I expected. Internet hype, operator opinions and personal brand preference really got in the way of finding truly useful information. I found myself focusing way too much on specs, price and awesomeness and not application, versatility and durability. When I came out the other end, it surprised me just how much against popular opinion my final choices were.

What became very clear after years of experimenting and use is that when it comes to mics for location sound recording, you get what you pay for! Not only in sound quality, but also versatility and durability. The more I used certain mics, the more limiting they became. I also learned which mics could stand up to the rigours of field recording. I found a noticeable difference between the entry level mics and the mid priced mics. I learned that high-end mics are more fragile, and required a location audio operator with more experience to use them to their full potential. There are a lot of mics out there and by no means are they made equal.

Mic Value And Versatility

If you’re like most sound ops, you’re looking for the perfect field recording mic. A mic that can be used in a variety of situations on a variety of locations with an affordable price tag — I did. I didn’t have the budget or the desire to carry a full arsenal of shotgun mics and lavaliers. The type of shooting I do (primarily documentaries) requires me to be efficient, compact and versatile! For me, that meant trying to find that one do-it-all mic. Sadly, there’s no such thing. To be able to deliver quality tracks on a consistent basis in today’s video production world, you’re gonna want to carry a combination of cardioid mics, shotgun mics and lavaliers.

If I had to do it all over again and choose what mic(s) to invest in when starting out, I wouldn’t even look at entry level mics. I’d jump right into mid priced cardioids and shotguns ($500 – $800) and only high-end lavaliers ($200 – $400). At these levels, the quality in sound is very high, and there’s a noticeable increase in versatility and durability. Mid-priced cardioid and shotgun mics are the best bang-for-your-buck where high-end lavaliers will make applying and recording with lavaliers easier and sonically palatable.

As you advance in booming and lavalier techniques, you’ll find that the quality of mics I’ve suggested won’t limit your ability to record high quality tracks. As you learn and progress, these mics will become more versatile, they’ll be your go-to mics — they’re a good investment.

Mics I Like, Use And Recommend

Indoor Microphones (hyper cardioids and cardioids):
Mid priced: Sennheiser ME64,
High-end: Neumann KM150, DPA 4017B,
Haven’t used but others rave – Schoeps MK41

Outdoor Microphones (Shotguns):

Mid priced: Shure VP89 series, Sennheiser ME series.
Haven’t used but others like – Audio-Technica series, Rode NTG series
High-end: Sennheiser MKH series, Neumann KMR series.
Haven’t used but others rave – Sanken series

Lavaliere Microphones:

High-end: Sanken COS11D, Tram TR50, Countryman B6

Video Camera-mounted Microphones:

Mid priced: Sennheiser ME64, Rode NTG-3, Sennheiser MKE600

DSLR camera-mounted Microphones:

Mid Prices: Rode VideoMic Pro, Shure VP83, Sennheiser MKE400
High-end: Shure VP83F

The Location Audio Operator’s Job

The main focus and job of most if not all location sound operators is voice recording. This can be anything from a quick sound bite, a sit down interview, unscripted run-and-gun to scripted scenes and sequences. You can be indoors and outdoors, in quiet locations and noisy ones, as well as a variety of framings from extreme close ups to big wide shots — there are numerous combinations. The good news about this laundry list of variables is that your mic choice will be dictated by the location and the framing — making it easier to choose the right mic for the job.

Indoor Locations

Shooting indoors can be more challenging than you’d expect. Since most video productions don’t have the luxury of shooting on a soundstage, shooting in living rooms, kitchens, offices, warehouses, rooms with unwanted ambience and reverb (reflections) narrows your mic choice. Hypercardioid pattern mics, lavaliers and in a pinch, short shotguns are the types of mics you’ll want to use. Framing in indoor locations will range from extreme close ups (ECU) to medium shots, as well as the odd establishing wide shot.

Hypercardioid pattern microphones that work best indoors are physically short so they can be used in rooms with low ceilings (Neumann KM150, Schoeps MK41, DPA 4017B). Their wide pickup pattern gives more coverage when booming from above since the sometimes low ceilings or tall talent have you booming closer to the talent’s head than you’d like. A good indoor hypercardioid should have a maximum reach of 18 to 24-inches.

The hypercardioid is commonly used indoors for ECUs, CUs (close up) and medium framed shots. The establishing or wide shot is often covered with a lavalier mic or planting a colette mic (cardioid pattern) when possible.

Lavaliers are also great for recording dialogue indoors. Since they’re a close proximity microphone, they do a great job of knocking down a room’s reverb and getting rid of unwanted ambience that can occur when shooting in houses and offices. When used with a wireless system and applied properly, lavaliers can be used for any size framing in any size room.

A short shotgun can also be used indoors. Now I know this is a no-no for many operators out there and I’ve read and heard enough about it, but I’m not sure what all the fuss is about. To find out for myself, I used a Shure VP89S short shotgun indoors in several locations where there was enough room to boom from overhead — I had no sound problems. I even had the opportunity to compare it head to head with a Neumann KM150, an excellent indoor hypercardioid mic — the short shotgun sounded fine. So for me, a short shotgun is a viable option indoors when there’s enough room to boom from above.

Outdoor Locations

Choosing a mic for recording dialogue outdoors becomes mostly about the microphone’s ability to reject distracting unwanted ambience. Shotgun microphones are great for traditional dialogue type shoots (drama, interviews) but the “go anywhere” lavalier/ wireless system combination is an absolute must for non-traditional shoots like extreme sports and reality TV.

Shotgun microphones are great for recording dialogue outdoors. They are designed to reject ambience from the sides and rear, and can record quality dialogue quite far away — I’ve had success at 10-feet when conditions were right. Shotguns come in a variety of lengths and most manufacturers will put out a series that would consist of a short, a medium and a long shotgun for sound continuity from CU to wide shot. I’ll state the obvious — a long shotgun can reach further than a short shotgun. Shotguns use the principle of sound cancellation of the near field ambience to reach further. The longer the microphone’s interference tube the more cancellation ports, and the more cancellation ports the tighter the pickup pattern. The tighter the pattern the further the reach. So for a CU framed shot, you’d use a short shotgun and as the shot gets bigger and the frame pushes you further from talent you’d choose a shotgun mic with a tighter pattern and more reach. A word of warning to those of you who think “I’ll just purchase a long shotgun and I’ll have all framings covered,” you’d be wrong. The tight pickup pattern of a long shotgun requires you to be very accurate when booming to produce quality recordings. For non-scripted shooting, even interviews, your booming skills will need to be beyond amazing to have any kind of consistency!

Now more expensive shotgun mics do sound better, but if you don’t know how to use them, they can, in many situations, cause all kinds of grief. Higher-end mics are more sensitive, less versatile, require higher operator skills and need a fatter pocketbook. A less expensive utility-type mic, like a Shure VP89S or Rode NTG3, will be more forgiving and produce good quality sound in a wider variety of situations in the hands of a less experienced sound operator. Your choice whether to go high-end or mid priced comes down to your knowledge and ability as a location sound operator, and that choice can be the difference between usable quality tracks and an unintelligible mess.

Lavaliers are also great when shooting outdoors. They’re perfect for big wide shots where you can’t reach the dialogue with a shotgun mic. For unscripted fly-by-the-seat-of-your-pants and extreme action shots where there’s no chance of getting a shotgun into position to record voice, the lavalier often becomes your only option.

So here’s where you might be wondering, why not just use lavaliers all the time? They’re great indoors and out, and in many instances better than shotguns in noisy locations. A decent wireless system and high-end lavalier cost about the same as a medium priced shotgun once you add in a suspension, wind suppression and boom pole. Well, there’s two main reasons not to rely solely on a lavalier. Number one, shotguns sound better — they’re more natural sounding. I use lavaliers only when I absolutely have to, when I can’t reach with a boom pole — most location audio operators would agree. And second, if it gets windy or talent is wearing noisy clothing, the little lavalier can quickly be rendered useless. Lavaliers, like shotguns, can’t be used in every situation and that’s why you need to carry both.

Quiet And Noisy Locations

The volume of your location will also dictate which type of microphone will yield the best results. Obviously a quiet location is what we all want when shooting dialogue. The type and quality of microphone won’t be as much of a factor compared to shooting in a noisy location. In most instances, even the wrong mic can produce pretty decent tracks in a quiet location. The skills, techniques and experience of the location sound operator won’t be challenged. On the other hand, noisy locations are where your mic choice becomes more critical. Having a mic that can quell unwanted ambience in your kit can save your butt. Shotguns and lavaliers will be your choice in noisy locations and knowing how to properly use them to their full potential will greatly improve your chances of success.

Now this doesn’t mean you need to spend a ton of cash and carry every mic available just in case an extremely noisy or unique situation presents itself. The type of shooting you find yourself working in a majority of the time should dictate the mics you have in your kit. When you find yourself wrestling unwanted ambience, this is where you start learning the limitations of your mics and honing your abilities as a location sound op.  Now let me point out, for years I successfully recorded sound on hundreds of broadcast productions carrying a single hyper cardioid mic (Neumann KM150) and two wireless systems (Sennheiser G2) with two lavaliers (Tram TR50). I successfully recorded usable high quality dialogue in numerous noisy locations, but over the years as shooting styles changed, and the expectation from producers to record usable dialogue in even noisier locations, I had to expand my mic selection to stay gainfully employed.

Conclusion

Not everyone needs to carry a full arsenal of mics to record quality tracks. Depending on the type of work you do, your experience and how deep your pockets are, the mics you carry should be able to comfortably cover the majority of shots you expect to encounter. Yes it’s good to be prepared and ready for anything but there is a point where it becomes overkill, expensive, even ridiculous.

Sidebar

Here’s my “location audio mic progression” – the mics I’d recommend.

Beginner’s Essentials – The must have mics to even call yourself a location sound operator.

One mid priced wireless system (Sennheiser G3), one high-end lav (Tram TR50), one mid priced short shotgun (Shure VP89S), and one mid priced cardioid mic which doubles as an indoor mic and camera-mounted mic (Sennheiser ME64 with K6P power supply).

The Next Level – I know what I’m doing

Two mid priced wireless systems (same make as beginner), two high-end lavaliers (same make as beginner), one mid priced short shotgun (same make as beginner), one high-end indoor hyper cardioid (Neumann KM150), one mid priced cardioid to be used as a camera mounted mic (same make as beginner).

Full-On Pro – Fully decked out and billing accordingly

Two diversity wireless systems (Shure UR series), two front loaded lavs and two top loaded lavs (same make as beginner but add two Sanken COS-11Ds), full series of mid to high-end shotgun mics (Shure VP89 series), two high-end indoor hyper cardioid mics (Neumann KM150), and one mid priced cardioid to be used as a camera-mounted mic (same make as beginner).

Unique mics – For those specialized type shots

High humidity shotgun mic (Rode NTG3), water proof lavaliers (Countryman B6), colette and capsule for planting mics, DSLR designed camera-mounted mic (Shure VP83F).

The make and model of microphones you choose to use is a personal preference. We all hear very differently, so it’s important you like the sound of the mics you use. It’s hard to get excited about what you’re recording if you don’t think it sounds good. Believe me, I was surprised when I went against popular opinion and chose the Shure VP89 series shotguns and a Neumann KM150 hyper cardioid. Read as many articles and blogs as you can but trust your ears when it comes time to make that purchase, and happy recordings.

Since 1989, Dean Miles has been working as a professional location audio operator for major television networks, motion pictures, high-end documentaries, corporate and industrial video and everything in between.