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.
Listen up! Sound is important to your video. Here are some tips on how to record it, edit it, deliver it, and make it the best.
You knew it was possible to tune an instrument, and you've certainly fine-tuned graphics and audio plug-ins, maybe even tuned up a car, but did you know you could tune a room?
It was dinner on the seventh 8am-midnight work day in a row.
The types of microphones being used and microphone placement is determined during the planning phase.
Quite often it is essential to shoot musical numbers to playback, the logistics of recording music and shooting film or video simultaneously being too demanding
Going for the Take: Okay, you've got your mixer and your equalizer.
Imagine the tape you made of your kids' last camp out. It's got some crickets on the sound track.
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.
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.
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.
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”.
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.
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.