The zoom recorder has two built in microphones for recording sound these are placed so that they cover the maximum possible area as each microphone is recording at a wide angle anyway and together they take in nearly all the surrounding sound in an area. This is very useful when recording ambient noise for open areas such as forests and crowds. The zoom stores the digital data from the microphone .

The shotgun microphone like all microphones converts analogue sound to digital. The shotgun microphone is directional meaning that it only records sound from an acute angle this means that it is good for recording a characters dialogue as it wont pick up much background noise and thus the dialogue will be clearer.

Making a radio voice:

In my film I intend to have a radio giving a weather forecast and so I also wish to play with the sound to make it sound like a vintage radio rather than normal dialogue this will make it seem that the signal in the area is poor and this in turn will suggest that it is remote. By making the locations seem more remote it creates a slightly greater feeling of jeopardy which means the character will receive greater sympathy from the audience. (Plus vintage radios sound more interesting and so would be more engaging.)

This video shows how I could achieve the effect in audacity however I don’t have access to audacity but I do know how to replicate theses effects from within premier pro.


‘Foley is the reproduction of everyday sound effects that are added to film, video, and other media in post-production to enhance audio quality. These reproduced sounds can be anything from the swishing of clothing and footsteps to squeaky doors and breaking glass.’ –

Sounds I may need:

  • Wind noise and ambience.  – 2 Min recording of each exterior location without making any sounds.
  • Rain noise. – Watering can / hose pipe sprinkled on floor from height then layered.
  • Heart beat. – Download free sound.
  • Underwater style ambience. – Play with ambiance in the editing software or get an effect online .
  • Crackling fire. – Scrunch a crisp piece of paper or a crisp packet.
  • Boiling kettle. – Boiling kettle.
  • Pouring water. – Water poured from a bucket or bottle.
  • Indoor ambience. – 2 Min recording of inside ambiance.
  • Car sounds. – Car driving past.
  • Splash. – Water thrown against a wall.
  • Footsteps + Squelch. – Damp cloth squelched in water or walk through wet mud. + footsteps on concrete .
  • Twig snap. – Snap a twig.
  • birds frightened – Stock sound or pigeons in town at a quiet time.
  • Music. – Online.

The music in this film will be the main sound, meaning it will have to be gripping as well as emotionally compatible with the goings on of the visual scenes, but it is not a focus for the audience. Overall the sound in this film is meant to be subtle and to carry the visual narrative and the ambiance and Foley should purely be there to make it feel more real.

About kitjaytaylor

Film student
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2 Responses to Sound

  1. kendalcollegefilm says:

    Goos work, Kit, showing a strong practical awareness of how to identify, manage, record, and use your sound effects. I’d like to see you include a little more critical thinking in here as to how (some of) those sounds contribute to your film. For example, WHY does the radio need to have a vintage sound? Having gone to lengths of learning to modify the recording to make it sound vintage, what does that particular element contribute to your film?


  2. Pingback: Evaluation | Kit Taylor

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