Has the selection of microphones offered by your favorite electronics store ever overwhelmed you? Have you stared in awe at the vast array of silver or black, big or small, expensive or cheap microphones available to you?
Recently, a sound design forum that I belong to debated on what the audio levels should be in a film.
This installment of our blog series on Basic Audio Techniques for Video provides more solutions for hiding lavalier microphones while rigging talent.
This installment of our blog series on Basic Audio Techniques for Video explains the basics of working with wireless mic systems.
It's time to record the narration for your next video production. You want to produce the best audio quality possible, keeping your narration free of plosives, but can't bring yourself to part with $30 to purchase a hoop-style windscreen like the pros use.
In this installment of our blog series on Basic Audio Techniques for Video we’ll explain how to select the proper handheld mic for filming.
In this installment of our blog series on Basic Audio Techniques for Video we’ll explain how to select the right shotgun microphone for different situations on set.
In this installment of our blog series on Basic Audio Techniques for Video, we’ll explain how to use a boompole.
Great sounding audio is key when producing a high quality video.
Hands down the most over-looked element of any television production is the audio.
A few months ago, I was watching an episode of Family Guy.
Documentary work requires not only great video, but great sound too. Here are nine tricks that will help capture the best audio.
Recording in the field is like camping: you only have the supplies you take with you!
Whether you are producing a commercial, infomercial, corporate video or even episodic television, you’re going to need to know how to record the human voice.
One of the most common questions we get from beginning video producers is “how do I get my video to be more like what I see in movies and TV?”
I’m always amazed when I see musicians perform complicated pieces with a look on their face like they don’t have a care in the world. Whether they first chair in an orchestra or play lead guitar for a hair band, they have that simple look of enjoyment as they play their instruments effortlessly.
There is obviously a need to use external audio recorders when you need to record more than two channels or when you need the absolute highest quality sound.
There’s a reason why your Grandma’s apple pie tastes so much better than the pie you purchase at the grocery store. The reality is that both the store and Grandma have the same ingredients: sugar, flour, apples, etc. Nevertheless, Grandma’s apple pie seems to melt in your mouth, while the store-bought pie seems stale.
Impedance is very important because selecting the wrong impedance mic can cause immediate and sometimes serious problems.
With soundtracks much more dense than in the past, the present generation of moviemakers has seen an exponential growth in the number of people who work on the sound after the film has been shot. Last month in the second installment of Elisabeth Weis' articles we explored ADR and beyond. In this, the final installment we pick up scratch mixes and temp tracks.
A good wired microphone is perfect for reliable high quality audio, but sometimes the wires get in the way.
With soundtracks much more dense than in the past, the present generation of moviemakers has seen an exponential growth in the number of people who work on the sound after the film has been shot. In this, the second installment of Elisabeth Weis' articles we explore ADR and beyond. Next month in the final installment we pick up scratch mixes and temp tracks.
If you gather ten sound engineers in a room and ask them what’s the best way to record something, don’t be surprised when you get ten different answers.
The credits for John Ford's My Darling Clementine (1946) include Wyatt Earp as technical consultant but only one person responsible for all of postproduction sound (the composer). The credits for Lawrence Kasdan's Wyatt Earp (1994) list the names of thirty-nine people who worked on postproduction sound. The difference is not simply a matter of expanding egos or credits.
The miracle of film and television is a result of a perceptual phenomenon known as "persistence of vision."
Learn the attributes of sound, how we hear, measure and record sound.
So, you've got a small budget and you finally believe that the audio you capture for your project is just as important as the video, (we told you so!) but you can only purchase one mic.
Visuals aren’t the only thing to consider when you’re scouting locations. Audio is just as important. Just because a location looks good doesn’t mean it sounds good.
The boom pole is used to suspend a microphone over the actors on set.
Two minutes of extra work on the set or in the field can save you hours of headache in the edit bay. You just need to remember to do it.
The primary objective of the production sound mixer and the boom operator is to capture clean dialogue on set.
The boom pole is a extendable pole used to position a microphone in the proper proximity above the actors on set.
Attention, did you notice that this article is NOT called STEREO sound mixing for film/video. That is because just about everything that you record on the set will be monaural, even though the headphones, mixer, and recorder all use the term “stereo”.
Clean, clear audio is an essential aspect of any professional production, but many (if not most) videographers underestimate its importance.
Movies with true organic sounds, imagined futuristic electronic audio, and even the everyday noises around us, aren't complete without good sound effects.
Wireless microphones have become increasingly popular as their sound quality, reliability, and cost have improved. This article is intended for people who are using a wireless microphone for the first time, or who are trying to decide which model to purchase to suit their particular needs.