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?”
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.
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?
Impedance is very important because selecting the wrong impedance mic can cause immediate and sometimes serious problems.
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.
A good wired microphone is perfect for reliable high quality audio, but sometimes the wires get in the way.
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 miracle of film and television is a result of a perceptual phenomenon known as "persistence of vision."
So, you've bought a shiny new digital video camera and you're blown away by the image quality. But what about the audio?
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.
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’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.
The primary objective of the production sound mixer and the boom operator is to capture clean dialogue on set.
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.
The boom pole is a extendable pole used to position a microphone in the proper proximity above the actors on set.
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.
Clean, clear audio is an essential aspect of any professional production, but many (if not most) videographers underestimate its importance.
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!