Sound Gun Short + Tutorial #1


In order to demonstrate different sound concepts in film, @Kevin_Senzaki created this short for RJFS that focused heavily on sound design.

This short will be followed by 4 tutorial videos explaining the different basic processes that went into creating the film’s sound. Here is Episode #1: Production Sound.

Tell us what you think and keep an eye out for the rest of the tutorials!


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Nice! But I have a few questions:

  1. Are natural sounds (such as a person coughing or a book dropping), ever used instead of foley?

  2. Let’s say I can’t afford a boom mike and I can only use my camera’s audio, but there’s wind where I’m shooting. What do I do now?

  3. Have you ever hit someone’s head with a boom mike?

I liked the editing of the video, but I think Kevin’s monologue was a little unfocused from time to time. It might just be my lousy attention span, but occasionally I found myself missing important things. Otherwise, great video!

  1. Yes! If you have usable production sound, think of foley as a means of enhancing your production sound. Big movies that are meant to be dubbed into foreign languages are the exception, and will be completely foley’d top-to-bottom, since you obviously lose all incidental effects from production sound when you remove the dialogue. Foley is also a great way to “sell” a fake prop (something cardboard, plastic etc.) as the real thing.

  2. A wind screen on your onboard mic will help, but may not address the issue of proximity of your mic from the actors. Wild lines taken on your camera may be the easiest solution, if there isn’t too much dialogue. If it’s a built-in mic (like a DSLR internal mic), you may have to do ADR if the dialogue is important to your story, using what audio you have from the shoot as reference for recreating the performance later.

  3. Of course. Matt was my last (unintentional) victim.


Thank you! That was very helpful!

Also one other thing, how do I pronounce your last name?


Even stress on each syllable, “Sen-Zah-Key” (Key as in “Ki Swan”). Or, Japanese names use the same vowels as Spanish, if that’s any help!


“unintentional” sure


There’s no need to be so harsh. Matt probably deserved it anyway.


I know I’m coming back to this like forever late but could you elaborate a little more on limiters and their recommended settings @Kevin_Senzaki?


Here’s a good article outlining limiters:

It gets somewhat technical, but any answer beyond a superficial one inherently will. Let me try, though! :stuck_out_tongue:

The main option you’ll be looking at on any limiter is the “out ceiling,” which is the absolute maximum volume level that will be allowed - that means anything that goes louder than your “out ceiling” will be “forced down” in level to meet the out ceiling. Still with me?

To give that a specific example with numbers, the “loudest thing possible” on most limiters should be 0.0 dB (weird, I know) and anything softer than that will be in the negative numbers (I don’t make these systems up). Since hitting 0.0 will typically register as peaking/clipping, you could set your out ceiling to say, -0.1 or -0.2, which would allow sound to get right up to “as loud as possible,” but keep it from actually going over the top. This in general is a good way to ward off distortion - sound can occasionally have random, brief spikes in volume, and having something in there to automatically take the edge off these brief moments of excessively loud sound can save you time mixing - and if you’re in software without really detailed mixing tools, it can prevent distortion you otherwise can’t fix.

This is the general, broad-slice look at it. Beware though, if something goes ridiculously louder than the limiter’s out ceiling, you can still get distortion - so it’s a good safety net, but not a guaranteed fix-all. In those cases, adjusting the level of the offending audio clip is still the way to go.