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.
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”.
Imagine the tape you made of your kids' last camp out. It's got some crickets on the sound track.
Going for the Take: Okay, you've got your mixer and your equalizer.
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 wish that I could say that the life of a professional Production Sound Mixer consisted only of sitting around on a large, Hollywood feature film set while being obscenely overpaid.
So, you've bought a shiny new digital video camera and you're blown away by the image quality. But what about the audio?
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.
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.
Rarely will a video producer lay down an audio track and leave it. Good, recorded sound is essential in any production,
Impedance is very important because selecting the wrong impedance mic can cause immediate and sometimes serious problems.
Hands down the most over-looked element of any television production is the audio.
Audio cables can be the weakest link in the chain of sound recording. When deploying external microphones, videographers need to know the difference between unbalanced and balanced cables.
Great sounding audio is key when producing a high quality video.
The boom pole is used to suspend a microphone over the actors on set.
Clean, clear audio is an essential aspect of any professional production, but many (if not most) videographers underestimate its importance.
Separating the S from the XLR, the USB from the VGA or the DVI and giving you the ABCs on choosing the right cable for the right price.
Recently, a sound design forum that I belong to debated on what the audio levels should be in a film. I, of course, chimed in. I was surprised that there were so many different opinions. The group is a good cross section of the sound design community being made up of amateur, prosumer and professional participants. However, despite this eclectic group, there was no definitive answer. There were some guidelines and a general understanding, but still no definitive answer. So, how do you go about mixing sound to picture? I'm glad you asked!
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.
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.
A few months ago, I was watching an episode of Family Guy.
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.
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.
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.
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.
Recording in the field is like camping: you only have the supplies you take with you!
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.
The audio part of a video program is usually built up from several different sound tracks. These individual components can vary considerably in both their level of reality and their function in the overall sound track.
The primary objective of the production sound mixer and the boom operator is to capture clean dialogue on set.
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?
There is a region around each microphone called the pick-up pattern, in which sounds are best captured.
A cameraman would never judge composition and good lighting based on what he or she hears. Likewise, a soundperson would be a fool to record audio based solely on what they see.
Last month, Fred Ginsburg talked to us about the importance of monitoring the sound track during our shoot. This month, we continue with the special needs of the boom operator.