Collaboration

Analysis of the script & designing concept for sound

Planning the sound recording strategy & equipment selection

Recording sound on set

Postproduction & editing of sound

Export of the audio track to the chosen format

Analysis of the script & designing concept for sound

Planning the sound recording strategy & equipment selection

Recording sound on set

Postproduction & editing of sound

Export of the audio track to the chosen format

Sound on set – assumptions, concept, pre-production

Good sound in a film or any related production begins as early as the budget planning & preparation stage. A key element here is analyzing the script, consulting with creators, and deciding on the specific goals to be achieved.

Planning the sound recording process in a film is a crucial pre-production phase, involving designing and organizing all aspects of the film’s audio layer. Properly conducted preparations mainly lead to better results in sound recording, while also reducing costs during both production & post-production.

When I receive a request to record sound, I always ask the necessary questions.
The ability to anticipate what might happen on set is basically essential for achieving the desired outcome. In certain situations, recording ADR becomes unavoidable — if I, along with other creators, know this during pre-production, we save time, effort, and money.

I am a proponent of maximizing realism, especially in documentary formats — and again, if pre-production has gone well, we will achieve a better result together.

Good on-set sound is the result of the efforts of many people, both from the production & filming team. It involves dedication during pre-production and careful execution on set. Maintaining discipline during recordings, impeccable actor diction, the possibility of rehearsals and dubs — these are the formulas that significantly bring success closer.

I am a sound engineer who demands a lot from myself and the equipment I use.

My experience allows me to anticipate many situations related to sound recording, but humility in the profession suggests leaving room for the unexpected.

Sound on set – recording

The principles & procedures I follow aim to deliver the best possible sound for the post-production time. They depend on the nature of each specific set. Different types include documentary, narrative, commercial, or reality show shoots.

From a sound engineer’s point of view, a common requirement is having reliable equipment prepared for the particular production.

A huge part of what goes into my recorders during recording time is the human voice. It is the most important element of the film’s soundtrack, the one I most often work with.

In post-production, I can add & create any other sounds, but I focus most strongly on human speech. It is the most valuable element in on-set sound production — whether it’s a host of a cooking show, an actor in a feature scene, or a contestant in a talent show. Concentrating on on-set sound, I focus mainly on vocal scenes.

I use lavalier microphones with a 3 mm capsule & a super-flexible cable, which allows for great concealment of the capsule, for example under clothing. Wireless transmitters from Wisycom & Sennheiser, along with their receiver systems, provide me with great range — an essential feature on reality-type sets where the distance between talent and sound engineer can be 600–700 meters. Such solutions also benefit the directing team, providing them with peace of mind.

The ability to record audio from a “body-worn” hidden microphone is now standard, ensuring data security as well since I record the sound in at least two places: 32-bit locally on a miniature recorder & usually 24-bit on a larger Sound Devices recorder.

I own several audio recorders suited for different tasks, each with unique features & capabilities. This gives me complete flexibility in equipment selection.

The characteristics of my condenser microphones enable me to capture pure sound even in challenging acoustic conditions.

TentacleSync devices provide perfectly synchronized audio & video material from my sets for post-production. This is also appreciated by editors, as it simplifies & shortens editing time & reduces costs. Good material makes the editing process smoother & more efficient.

Solid, reliable, and professional microphone concealment combined with excellent sound quality is achieved using Viviana SoundSolution and URSA Straps products. The SWIT batteries designed for aviation transport are invaluable; I power most of my recording equipment with them.

Data security is my priority. Some of my recorders are equipped with SSD drives, increasing data storage safety. Many times, a day of 10+ hours of work is recorded onto a small memory card. All footage from my sets is uploaded to WeTransfer servers — a paid service with unlimited storage space. My clients have 24/7 access to audio material through the dedicated interface at dzwiekwfilmie.wetransfer.