Comments

rraud wrote on 7/3/2008, 3:35 PM
Aside from re-shooting it with a proper mic, there ain't much you can do.
You could try.. EQ'ing out some of the room's resonant frequencies, but it will never sound good. Sorry.
richard-courtney wrote on 7/3/2008, 10:07 PM
I'm with rraud on this. I assume you are talking about the built-in mic and not
a short shotgun on pro-sumer cameras.

In general get the mic off the camera and closer to the talent.

Choose the correct pickup pattern for the task.

A small room's feel can be modified using studio foam (such as Auralex.com Lenrd) on light stands. They can be to an extent portable where a studio is not practical.
Lavoll wrote on 7/6/2008, 1:37 PM
no good fix for this.
you wanted to film a horse, and filmed ducks in a pond.
you wanted to record a person, but recorded a room.
you need to reshoot or rerecord the person talking :)
musicvid10 wrote on 7/6/2008, 8:19 PM
Of the two common approaches, I prefer the "lav" (either wired or unwired) over the "short shotgun" approach -- the reason? It's a room! Do a search on these forums if you don't understand what this implies in terms of early reflection and phase anomolies.

Even outdoors, the lav is preferable for a really good reason: The sound is truly localized rather than focused. IOW, your shotgun not only picks up the speaker, but also everything in a circle behind the person (like the freeway).

Why do you think experienced broadcast teams use those wired Sony 77 lavs both in the studio and on location rather than on-camera mics of whatever configuration? Well, they will probably tell you it's so you can hear the speaker.