On Location: Lavaliere Microphones
One of the most common microphones used on location for dramatic features and documentaries is the lavaliere microphone (also called a lav). On dramas, it is often used in combination with a boom mic so the sound gains ambience. When later mixed, the boom and lav mics create “real” sound.
Often lavs are attached to a wireless microphone. Clothing noise, popping noise, wind, cable noise, and noise associated with the battery’s mounting all need to be taken into consideration when using lavs.
In documentaries, you don’t usually need to hide the lav. It is common to see lavs clipped onto the clothes of the on-camera speaker. I only use a lav as a last resort in my documentary work as it tends to sound unreal, especially if there is a lot of action in the background. Therefore, most often I’ll use a boom mic. Also, if the on-camera person is turning their head various directions while speaking, the quality of the sound changes even though the lav has an omni directional pattern. I have always found that these changes become distracting when I’m in the mixing room toward the end of the production. I always try to think about what problems will my sound give me when I’m in the final mix.
Clip-on Lavs
There are several different types of clips and tie tacks.
Place the mic as close to the mouth as possible on the shirt collar
or jacket lapel. Some sound
persons are adept at placing the lav cradled in the knot on the necktie.
It’s tricky to avoid the sounds of the tie’s material scraping
against the lav or the cable.
Windscreens are very important for lavs. Besides helping to prevent wind noise, they also help to prevent popping noise that talent makes when saying plosives such as the sound “p.” If you’re indoors on a stage, you can do without a windscreen.
Another noise generated by a lav is the sound of the cable. Loop the lav cable through the teeth of the clip so it can’t move around. If it just hangs from the lav, you’ll hear it.
Hiding Lavs
Use toupe tape on the back of the lav to adhere to the body of the talent.
Take safeguards to prevent the cable from dangling and creating
noise. Add some tape to the cable a short distance from the lav so
it has some slack and doesn’t dangle.
I’ve also hidden lavs in creative places such as under beards and
under the brim of cowboy hats. Prior
to shooting make sure there is no noise being created by the mic. Also, work with the wardrobe department to avoid starched shirts
and other rough material that rubs against the lav. And always avoid corduroy shirts!
If the lav is being connected to a wireless transmitter, tape the antenna to the talent’s body in the same direction as the receiving antenna. Also, you can use an elastic bandage wrapped around the actors waist to hold the wireless transmitter.
It is important to use fresh batteries with your lav mic. On features I suggest a new battery every day even if you don’t think you need it. I’ve also experienced problems with the battery contacts in the unit. You should always clean them with contact cleaner.
Want to learn more? Read the book Producing Great Sound for Digital Video by Jay Rose.
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--Mickey Grant