
6 minute read
Make Sure Your Story Is Heard
An introduction to the art of sound recording for video and how it can make or break your production
If you’re starting to take videography more seriously, sound is an important consideration. Sound and picture go hand-in-hand in achieving a professional result and creating a compelling story.
In fact, it could be argued that a video’s sound is more important than its picture, because a lower-quality picture paired with good-quality sound performs much better with viewers than vice versa. Some might go as far as to say that bad sound can completely ruin a movie even if the acting and cinematography are brilliant. Whatever your view, one thing’s for sure: if you want to make a top-quality production, you need to make sure your story is heard!
Luckily, with a current FUJIFILM X Series camera in your hand, you already have the ability to record professional-quality, 4K-class video. So, here’s some basic advice on recording great sound to go with it.

Photo © Chris Maestas
Invest in an External Microphone
While your X Series camera’s built-in microphone is great for spur-of-the-moment candid videos of friends and family, when thinking about higher-quality production, you need more control over how the sound is recorded and that requires an external microphone, such as the FUJIFILM Stereo Microphone MIC-ST1.
Below we have outlined a few reasons why you should be using an external microphone to record sound for your video.
Omnidirectional Vs Unidirectional
The microphone that is built into your camera, just like those built into your phone or tablet, is omnidirectional. This means it has been designed to pick up sounds coming from all directions.
This is great when recording general ambient sounds, where you have less control over your sound source or when it is moving around. However, it can be harder to single out a target sound among lots of background noise.
In these situations, a unidirectional microphone, such as the MIC-ST1, could be a better option. Simply put, a unidirectional microphone is usually more sensitive to sounds that are in front of it. This helps you isolate a desired audio source, such as a person talking to camera.
Wind Noise
Wind, or more specifically, the noise it creates when it hits a microphone is another reason to invest in an external microphone. This noise is very difficult to remove without adversely affecting quality once it has been recorded and can ruin an otherwise perfect take.
Using a wind shield prevents this from happening. This is a cover that sits over the top of the microphone to stop the wind making direct contact. The MIC-ST1 comes with a wind shield included, helping to reduce the risk of bad sound in breezy conditions.

Consider a Separate Recording Device
The single most important technique for recording good-quality sound is to position your microphone as close to the source as possible. This means not having the mic attached on top of the camera, but having it on a stand closer to the speaker or having someone hold it with a long boom pole so it’s closer to the voice.
Many times, if the mic is being carried by someone separately, it might be better to have that same person carry a portable sound recording device directly on them, instead of recording the sound in-camera. This means the microphone becomes completely independent from the camera, enabling ultimate creative freedom.
Although specialist professional audio recorders are available, it is possible to connect most microphones to a standard smartphone and still gain great results. An external recording device can be paired with many different types of microphone that are all suited to different situations. Below, we outline three of the most common, so you can decide which is best for your production.

Handheld Microphone
As the name suggests, this microphone is designed to be held in hand and is most commonly seen being used by news correspondents or roving reporters who are interviewing people on the street.
It is a great option for filming live broadcasts or in situations where there is no time for audio setup. But with the microphone clearly visible in the frame, it is no good for theatrical productions.
Microphone on a Boom
This when a microphone is attached to a long pole called a ‘boom’ to get as close as possible to the sound source, while keeping the microphone out of frame.
This is perfect for theatrical productions, when you don’t want the microphone to be seen. However, bear in mind that it requires a second person to hold the boom, or a light stand with a clamp if the talent is not moving around too much.

Lavalier Microphone
The tiny lavalier microphone clips on to a person’s clothing, usually a neckline or lapel, with a wire connecting it to a recording device hidden in a pocket or clipped on to a belt.
This type of microphone is great for documentaries or interviews with active subjects because it allows them to go completely hands free. However, it does take time to set up, so may not be ideal for on-the-spot situations.
Don’t forget…
If you’ve recorded sound using a separate device, when adding it to your video in post-production, it’s imperative it is synchronized perfectly. If the sound is slightly ahead or behind the video, it becomes extremely difficult to watch and follow along.
One way to do this is to use a clapper board, which can be snapped in front of the camera at the beginning of a take to provide an audio and visual reference point for precise syncing in post-production. If you don’t have a clapper board, simply asking the person in the frame to clap their hands can work just as well, that way the editor has visual and audio cues to use in properly aligning the tracks.
Also, make sure you still record the sound that is picked up by the camera. This might seem pointless when you have a higher quality microphone doing the same thing, but it can be extremely useful when syncing. The soundtrack recorded by the camera is often called ‘scratch’ and is a fantastic guide for ensuring absolute precision. Once fully sync’d the scratch can be muted leaving only the high-quality recording.

Photo © Chris Maestas
Record Voiceovers Separately
If your production includes a voiceover, it is always best to record this separately. By doing so, it’s possible to have complete control over the sound, eliminate all background noise, and ensure the voiceover remains constant throughout.
When recording voiceovers, you need to make sure the ambient sound is as dead as possible, and this depends entirely on your surroundings. Most of us don’t have access to a professional recording studio, but it is relatively easy to gain good quality at home.
Stopping sound waves from reflecting off surfaces and creating an echo is key. Fabric is a great way to absorb sound and prevent it from bouncing. So, choose a carpeted room, ideally with closed curtains.
Avoiding bare surfaces is also a useful tip. Make sure there are things on the wall, such as pictures or shelves. With lots of different angles, sound reflects in many directions, which helps break it up and reduce reflection.
A great home studio technique is to hang a duvet up behind the microphone, so it absorbs the sound immediately after the microphone picks it up, ensuring minimum bounce back. But most importantly, be aware of background noises, such as passing cars outdoors and even the hum of home appliances like refrigerators.
Share With Us!
Now, you should be well on your way to creating great sound to match the awesome video from your X Series camera. We’d love to see what you’ve been creating, so don’t forget to share your work with us using the form below for a chance to be featured on our social media channels!
Learn more about the FUJIFILM Stereo Microphone MIC-ST1 here, or compare the best X Series cameras for video below. Alternatively, contact your nearest Authorized FUJIFILM Dealer for more information.
Compare the Best X Series Cameras for Video

X-A7
Audio Format
Audio Connection
Max Resolution
Max Frame Rate
In-Body Image Stabilization (IBIS)
Digital Image Stabilization (DIS)
Weather Resistance
Dimensions (WxHxD)
Weight

X-T200
Audio Format
Audio Connection
Max Resolution
Max Frame Rate
In-Body Image Stabilization (IBIS)
Digital Image Stabilization (DIS)
Weather Resistance
Dimensions (WxHxD)
Weight

X-H1
Audio Format
Audio Connection
Max Resolution
Max Frame Rate
In-Body Image Stabilization (IBIS)
Digital Image Stabilization (DIS)
Weather Resistance
Dimensions (WxHxD)
Weight

X-T30
Audio Format
Audio Connection
Max Resolution
Max Frame Rate
In-Body Image Stabilization (IBIS)
Digital Image Stabilization (DIS)
Weather Resistance
Dimensions (WxHxD)
Weight

X-S10
Audio Format
Audio Connection
Max Resolution
Max Frame Rate
In-Body Image Stabilization (IBIS)
Digital Image Stabilization (DIS)
Weather Resistance
Dimensions (WxHxD)
Weight

X-T3
Audio Format
Audio Connection
Max Resolution
Max Frame Rate
In-Body Image Stabilization (IBIS)
Digital Image Stabilization (DIS)
Weather Resistance
Dimensions (WxHxD)
Weight

X-T4
Audio Format
Audio Connection
Max Resolution
Max Frame Rate
In-Body Image Stabilization (IBIS)
Digital Image Stabilization (DIS)
Weather Resistance
Dimensions (WxHxD)
Weight