Category: Cosplay Skits

When recording, you always want to try to get the best possible sound from the source.

Type of Microphone

Microphone quality has increased over the past year to the point where many phone and gaming mics produce capture pretty decent audio. Experiment with the microphones you already have before shelving out for new equipment.

[su_box title=”What to listen for in a microphone” style=”default”] Your microphone should capture clear and crisp audio, meaning it doesn’t sound distant, muffled, or ‘like you’re underwater’. I personally would avoid a device with automatic noise suppression since it can distort certain aspects of the audio. [/su_box]

Personally I have a dedicated USB-enabled microphone that I use as my primary and then I’ll use my phone if there’s minor spoken re-takes I need to do. The only microphone I would not recommend is an onboard laptop or computer microphone.

Avoiding Plosives and Pops

As we expel air when we speak, some of our phonetics produce windy sounds in recordings that are harsh on the ear.

• Plosives or pops are large, breathy sounds that happen when we say “Pah”, “Bah” or “Fah” or similar sounds.
• Clicks are sharp, short bursts of breath that follow a “Tah” or “Kah” sound in English.
• Sibilance is a whistle when we say sounds like “s”

Preventing these issues at the recording stage is always preferred to the fiddly business of trying to remove them during editing.

[su_box title=”Tip 1: Use a Shield” style=”default”] A shield is a fabric screen mounted between the microphone and the person. It’s designed to catch some of the air and reduce the impact of plosives, clicks, and sibilance. [/su_box]

[su_box title=”Tip 2: Keep your Distance” style=”default”] You want to be close enough to the microphone to be clear, but not so close that every breath is captured in recording. 6-9″ away from the microphone, with the shield in between generally produces good results. [/su_box]

[su_box title=”Tip 3: Try a new Angle” style=”default”] You can further minimize undesired audio blips by recording at an angle. Get into position facing the microphone, then twist your head slightly to the left or right (approx 45 degrees or where 10:00 or 2:00 appear on a clock). The angle helps direct the bulk of the air away from the mic. [/su_box]

Volume Levels

If you’re recording using a dedicated microphone with software like Audacity, you’ll be able to see the volume levels as you record. If you’re too quiet, the microphone won’t pick it up – hence why we recommend standing 6-9″ from the microphone. If you’re too loud, the audio levels get “blown out” – they reach the maximum frequency and it sounds screechy.

[su_box title=”Recording Loud Sounds” style=”default”] You’ve probably seen singers turn away or hold back the microphone when they belt a loud note. This is to keep the audio from blowing out. To record loud sounds like a musical belt, a yell, or a scream – step back from the mic. This lets you keep the emotional intensity without compromising the audio quality. [/su_box]

Environment

Sound bounces off hard surfaces and is absorbed by soft materials. When recording, we don’t want sounds to bounce around because those echoes will show up on the recording.

To minimize resonance, try to record in a place that has soft materials like curtains, carpet, or bedding. In my early days I would do things like put the microphone right in front of curtains or do the recording under a blanket to make sure the audio was absorbed.

Needless to say, recording in a quiet space without interruptions helps. When you record make sure to turn off:

• Phone alarms, notifications, and calls
• Computer notifications
• Background electronics like fans

It also helps to let any co-habitants know you’re recording and to put up a sign to remind them not to disturb you.

Recording Strategy

One of the benefits of pre-recording lines is that each line or even line segments can be recorded as many times as needed until you get the result you want. My personal mantra is: record small and record many.

Break all the lines into small complete chunks. Then record chunk by chunk, trying it a few different ways with different tone, pitch, emotional inflection etc. You can also record it exactly the same way each time to give you the biggest set of samples to work with in editing.

To save myself time, what I’ll do is record multiple attempts in a single recording, but leave myself with 2-3 seconds of silence between each attempt. I end up with 1 file per line and all the attempts in that file, where I can split up the attempts based on the silence gaps.

If you’re adding graphics, sound, music, or video elements to your cosplay skit, chances are you’re working with copyrighted materials. This guide covers what copyright is and how you can work with copyrighted materials in your skits.

[su_box title=”Disclaimer” style=”default”] I am not a legal expert. This does not constitute as legal advice. As always, do your own research and seek legal counsel if necessary. [/su_box]

The Oxford Language Dictionary defines Copyright as:

The exclusive legal right, given to an originator or an assignee to print, publish, perform, film, or record literary, artistic, or musical material, and to authorize others to do the same.

Works under copyright must be licensed, otherwise the owner of the copyright can take penalizing action like take-down orders or issuing fines for improper use. Licenses are usually paid.

Sometimes a copyright owner may not require traditional licensing fees. For example, a work could be made royalty free, which means others can license or use the work without paying a fee. Or the copyright owner may require attribution, or public credit, in lieu of a royalty or license fee.

The copyright on works can expire, at which point the works move into the public domain. Works in the public domain do not need to be licensed.

Each country will have their own definitions of what materials are considered copyrighted, how they can be used, and what actions the owner can take.

For example, under USA copyright law, the creator of a work automatically owns the copyright without having to file anything. The USA also has fair use law, which allows for the use of copyrighted material in small quantities if it meets certain criteria, such as for criticism/commentary, reporting, academia, or parodies.

[su_box title=”How does copyright affect cosplay skits?” style=”default”] Unless you are writing, producing, or creating your materials from scratch, then the assets you are using have a copyright that is owned by someone. If you use copyrighted materials with licensing or permission, there can be consequences for you or for the event at which you’re performing. [/su_box]

[su_box title=”How do I know what’s allowed?” style=”default”] Ask the event coordinator what types of media are allowed. Keep in mind they are probably not legal experts, so get clarity on precisely what they mean if they reference copyright. For example, I ran into an event that said “no copyright material”, but actually also allowed royalty free, provided no attribution was required. [/su_box]

[su_box title=”Is public domain always acceptable?” style=”default”] Works in the public domain are copyright-free, but derivative works may not be. For example, the original song ‘The Four Seasons’ by Vivaldi is in public domain, but a recording or a sheet music arrangement might not be depending on when the recording/sheet music were first released. Even if you record yourself playing the song, the sheet music might still be copyrighted. [/su_box]

[su_box title=”If I do a parody, then am I covered under Fair Use?” style=”default”] Not necessarily. For example: instrumental or karaoke tracks for a parody song might be under copyright themselves. Additionally, if your version isn’t transformed enough from the original, it might not qualify under Fair Use either. [/su_box]

When working with AV elements, make sure to get appropriate licensing where needed:

1. If you purchase a license for assets or use a library of assets, check the terms of use to see if the licensing includes live performance, streaming, and/or video on demand. Those scenarios may require separate or more expensive licenses.
   
2. If the owner gives you permission to use their media royalty-free, confirm in writing how and what attribution needs to occur (e.g. credit in the video, link in the description, verbal attribute in the skit intro)