Audio Post

Sound for Video Session: Q&A 11 December 2018

In this week’s Sound for Video session, we answer your questions about production and post sound:

00:13 Isolating lavalier microphones

05:12 Which software to use for editing, mixing sound?

07:49 Can you use the F8/n as audio interface with F-Control?

08:56 Loudness vs Peak Normalizing

12:27 Default settings for Sennheiser G3?

13:37 Can you link the Zoom F4 & F8 to operate as one?

14:56 How to get “Radio Voice” with Audition?

18:07 How does the FCC frequency allocation affect you?

19:25 Sound Devices 688 and SL6

20:17 How does Sennheiser MKH416 compare to newer shotgun mics?

25:11 Dealing with ventilation/refrigerator that cannot be turned off?

26:58 Mixing foley?

27:41 How did I get a killer deal on these old Lectrosonics wireless kits?

30:40 How to mount timecode generator to camera?

31:47 MixPre: Meters and limiters

33:55 Are vintage mics overrated?

36:50 How do you get audio to a director?

37:18 Recommendation for enthusiast wireless mic systems?

38:52 Is the Tascam DR-60DmkII still a worthwhile purchase?

40:56 I do both music and film sound, should I get the MixPre-10T or 10M?

42:27 Zoom F8: How do I keep the settings I make on the app?

43:45 Zoom F8 5.1 firmware update: What’s new?

45:00 How to record iso channels on MixPre-6?

45:39 Recommended recording apps for iOS?

47:38 How to setup the dbx 286s?

48:41 Is Izotope RX worth its price?

51:00 Which frame rate settings do I use for timecode?


Previous videos mentioned in today’s session:

Fairlight in DaVinci Resolve:

Loudness normalization:

Foley:

Comtek wireless audio for directors:

MixPre-10M vs 10T:

Gear discussed/used to record this episode:

Moleskin for hiding lavalier microphones

Joe’s Sticky Stuff - two-sided tape for attaching lavalier mics to clothing or anything else

Zoom F8n eight channel audio recorder/mixer. One of my favorites. Paid my own hard-earned money for this thing.

Zoom F4 four channel audio recorder/mixer. Basically the same as the F8n but no app control, monochrome screen, and bigger knobs. Paid my own hard-earned money for this thing.

Sennheiser G4 solid analogue wireless mic kit

AKG C414 XLS - used to record today’s session. I was recovering from a cold at the time, so this isn’t the best representation of the sound possible with this mic. We’ll do another demo with it once my voice is back to normal.

Sound Devices 688 - Pro level audio recorder/mixer. It is the price of an older used car but a good buy for those doing paid production sound work.

Sound Devices SL6 - add on wireless receiver slot system which simplifies powering and using larger antennae for multiple slot-in wireless receivers from your sound bag.

Sennheiser MKH416 - Tjhe legendary shotgun microphone for film & TV production.

Sennheiser MKH8060 new generation shotgun microphone meant to replace 416

Sennheiser MKH8050 new generation indoor dialogue boom mic meant to replace MKH50

Sound Devices MixPre-3 - great little recorder from the company that makes amazing pro-level audio recorders. But this one is a lot more affordable. 3 mic inputs, analogue limiters.

Sound Devices MixPre-6- great little recorder from the company that makes amazing pro-level audio recorders. But this one is a lot more affordable. 4 XLR mic/line inputs plus a 3.5mm stereo input, analogue limiters.

Sound Devices MixPre-10T- great big recorder from the company that makes amazing pro-level audio recorders. But this one is slightly more affordable. 8 XLR mic/line inputs plus a 3.5mm stereo input, 2 balanced and 2 unbalanced outputs, analogue limiters. etc. Great recorder. My favorite sub $2000 USD option.

Tascam DR-60DmkII great budget recorder (XLR inputs are good, 3.5mm not so good)

CEntrance Mixerface R4 audio mixer/recorder

dbx 286s channel strip - good for voiceover and live broadcast sound

Universal Audio Apollo x6 USB-C/Thunderbolt 3 Audio Interface - used to record the voice over for the screen cast

Copyright 2018 by Curtis Judd

Outro music licensed from Artlist: Awaken by Ethan Rank

Ethics statement: Some of the links above are affiliate links which means that if you click on them and buy, I get a small commission. You don't pay more by clicking these links than if you just went to the retailer’s web site on your own. I use the proceeds to buy additional gear to review and help you improve your sound, lighting, and video. Thanks for your support!

Sound for Video Session: Timecode Systems UltraSync Blue Demo

In this week’s session, we take a look at a wireless timecode generator you can use to make syncing audio and video from your mobile phones and tablets quick and easy: The Timecode Systems UltraSync BLUE.

The BLUE can send timecode to up to 4 devices at the same time and can also connect wirelessly to UltraSync generators attached to cinema cameras or professional level audio recorders.

At the time of this review, the compatible apps are for iOS, available in the App Store:

Apogee MetaRecorder (audio recording app)

Mavis (Cine style camera app)

Gear and links discussed/used to record this episode:

Timecode Systems UltraSync BLUE - Bluetooth wireless timecode generator

Sennheiser ClipMic digital - used to record the talking head clips into the MetaRecorder app

Electrovoice RE20 Dynamic Broadcast Microphone - used to record the voice over for the screen cast portion

Universal Audio Apollo x6 USB-C/Thunderbolt 3 Audio Interface - used to record the voice over for the screen cast

Copyright 2018 by Curtis Judd

Outro music licensed from Artlist: Keep an Eye by Back to Dream

Ethics statement: Some of the links above are affiliate links which means that if you click on them and buy, I get a small commission. You don't pay more by clicking these links than if you just went to the retailer’s web site on your own. I use the proceeds to buy additional gear to review and help you improve your sound, lighting, and video. Thanks for your support!

Sound for Video Session: Edit/Mix Room Tour 2018

After several requests and despite my prior objections, this week’s episode is a virtual tour of my mix/edit room. This is where I edit all of my videos, edit and mix the sound for these videos, and generally work. I hesitated to do this because I don’t want anyone to think that you have to have expensive tools to edit and mix good sound for video. You can start with a basic computer and set of headphones. Once you’re getting paid to mix and edit sound for video, then it generally makes sense to invest in some tools that will help you get the job done more efficiently.

Please consider my sound for film courses.

Gear and links discussed/used to record this episode:

Sennheiser MKH 8050 Supercardioid boom microphone

Oktava MK-012 Cardioid boom microphone

Schoeps CMCmk41 Supercardioid boom microphone

Furman PL-8C Power Conditioner

Universal Audio Apollo x6 Thunderbolt 3 Audio Interface with 5.1 surround monitoring

Focal Solo6 Be Powered Reference Monitors (Speakers)

Mackie 802VLZ4 Analogue Mixer

Sony MDR-7506 Closed Back Headphones - my first choice for when I’m recording/mixing on location

Beyerdynamic DT770 Pro - my second choice for when I’m recording/mixing on location

Beyerdynamic DT880 Pro Semi-open Back Headphones - my first choice for reasonably priced mixing headphones

Sennheiser HD820 Closed Back Reference Headphones - My favorite very expensive headphones for mixing

Golden Age Project Pre-73mkIII - A modern day copy of the Neve 1073 preamp. All analogue. Fuzzy and warm

Golden Age Project R1 Active mkIII - A reasonably priced ribbon microphone with a smooth high frequency roll-off which I like for recording voiceover and harsh instruments. Smooth

Electrovoice RE20 Dynamic Broadcast Microphone

Allen & Heath SQ5 Digital Mixer/Audio Interface

Blackmagic Pocket cinema Camera 4K - used to shoot this episode

Copyright 2018 by Curtis Judd

Outro music licensed from Artlist: Keep an Eye by Back to Dream. Artlist provides high quality music tracks for your film and video projects. You can receive two months off an Artlist account by using our link: https://artlist.io/artlist-70446/?a_a...

Ethics statement: Some of the links above are affiliate links which means that if you click on them and buy, I get a small commission. You don't pay more by clicking these links than if you just went to the retailer’s web site on your own. I use the proceeds to buy additional gear to review and help you improve your sound, lighting, and video. Thanks for your support!

Dialogue Editing for Film Demo

Editing the dialogue sound for your film and video projects can seem a little daunting, especially when you have two or more actors, each with a wireless lavalier microphone plus a boom microphone. How do you edit all those tracks? Do you just keep the boom and lavalier mics? Won’t it sound richer if you do keep them all?

It turns out that it generally will sound quite a bit worse if you keep them all and the main reason for using both lavalier microphones and a boom microphone is to give yourself options to use the best sounding mic in for each dialogue line.

In this demo, we show the basics on how to start a dialogue edit using Adobe audition. In this demo, we exported the edit of the film from Final Cut Pro X.

If you’d like to learn how to make great dialogue audio for your film and video projects, please have a look at my courses at my school including processing dialogue audio, recording sound, how to use the Zoom F8 and F8n, and how to get the most from the Sound Devices MixPre series of recorders.

Links to gear used to record the film and this video:

XToCC - app to convert XML from Final Cut Pro to XML that Adobe Audition can use:

Electrovoice RE20 - The mic I used to record my voiceover for this tutorial

Universal Audio Apollo X6 - Microphone preamp and Thunderbolt 3 Audio Interface used to record my voiceover for this tutorial.

Aputure COB120dmkII - Key light for lighting Amanda

Aputure Light Dome II - Newer version of the big soft box with faster setup and gel holder

Lupo Superpanel Full Color 30 - RGB 1x1 panel light for Lighting Bridget

Audio Ltd A10 Wireless Microphone System - Used for Bridget and Amandas lavalier microphones

Countryman B6 Lavalier Microphone - Bridget’s lavalier mic

DPA 4160 Lavalier Microphone - Amanda’s lavalier mic

Sound Devices 633 Audio Recorder/Mixer - Field recorder used to record the film sound

Sennheiser MKH 8050 - This is the boom mic used to record the film

Copyright 2018 by Curtis Judd

Music Copyright 2018 by Cary Judd. Used with permission.

Ethics statement: Some of the links above are Amazon.com or B&H Photo affiliate links which means that if you click on them and buy, I get a small commission. You don't pay more by clicking these links than if you just went to the retailer’s web site on your own. I use the proceeds to buy additional gear to review and help you improve your sound, lighting, and video. Thanks for your support!

Sound for Video Session: Q&A

In this week's live Sound for Video Session, we'll take a shot at answering your sound for video questions. You can submit them live, or for future sessions, just sign up for free over at http://school.learnlightandsound.com and I'll email you when its time to submit.

Gear discussed in this episode:

dbx286s Vocal Channel Strip - an analogue preamp, compressor, de-esser which can be useful for live streaming

Oscar SoundTech Lavalier Microphones

Lavalier Microphones:
DPA 4160
Sanken COS-11D
Countryman B6
Voice Technologies VT500

Copyright 2018 by Curtis Judd

Ethics statement: Some of the links above are affiliate links which means that if you click on them and buy, I get a small commission. You don't pay more by clicking these links than if you just went to the retailer’s web site on your own. I use the proceeds to buy additional gear to review and help you improve your sound, lighting, and video. Thanks for your support!

Sound for video Session: Q&A

In this week’s live streaming session, we took sound for video related questions from many of you!

Gear and links discussed/used to record this episode: 

Zoom F8n Audio Field Recorder (2018):

Electrovoice RE20 Broadcast Microphone

Panasonic GH5s Camera - first time using this as a live stream cam. What do you think?

Panasonic 12-35mm f/2.8 OIS Lens

Blackmagic Design Ultrastudio Mini Recorder - This takes the HDMI output from camera to the computer so we can stream it

3.5mm TRS to dual 3.5mm TRS adapter cable- asked about a breakout on the session, here’s one option

Heil PL2T Desk Boom Arm for Microphone

Copyright 2018 by Curtis Judd

Ethics statement: Some of the links above are affiliate links which means that if you click on them and buy, I get a small commission. You don't pay more by clicking these links than if you just went to the retailer’s web site on your own. I use the proceeds to buy additional gear to review and help you improve your sound, lighting, and video. Thanks for your support!

Accusonus ERA-D: Remove Noise and Reverb From Your Audio

One of the big challenges with recording on location is that you cannot always control noise or reverberation on the set. And while you can use things like sound blankets to help in some cases, sometimes you just don’t have enough blankets or time. On one job last year, I worked on a location near a major interstate highway which was chosen for its appearance, not its lack of noise. In cases like this, ERA-D from Accusonus can help you clean up the noise and reverb in your recordings like no other plugin I’ve used before.

Links to gear discussed and used to shoot this episode:

Accusonus ERA Plugin Bundles

DPA 4017b Shotgun Microphone

Countryman B6 Lavalier Microphone

Sound Devices 633 Audio Field Mixer/Recorder

Copyright 2018 by Curtis Judd 

Music - MzA - Copyright 2017 by Cary Judd, used with permission

Ethics statement: Some of the links above are Amazon.com or B&H Photo affiliate links which means that if you click on them and buy, I get a small commission. You don't pay more by clicking these links than if you just went to the retailer’s web site on your own. I use the proceeds to buy additional gear to review and help you improve your sound, lighting, and video. Thanks for your support!

Sound for Video Session: Q&A - Timecode Generators, Sennheiser vs. RODE Wireless, and More

In this week’s sound for video session, we answer your questions!

00:20 Can I use the timecode generator in my recorder and then just buy generators for each camera (GH5 and GoPro)?
02:13 What is the difference between the Zoom F8n and Sound Devices MixPre-10T?
04:26 Can I use a Tentacle Sync connected to my computer with Screenflow?
05:43 Sennheiser G3/G4 vs RODELink for long interviews (4-8 hours)?
06:38 Connect audio recorder to an ATOMOS video recorder?
08:19 How do I power all of this stuff for 8 hours since I will not always have AC power?
10:20 Small Traveling light recommendation? (Aputure F7)
11:38 How do you transport your camera/audio recorder when flying?
13:44 Sennheiser 416 or RODE VideoMic Pro+ & Ursa Mini Pro?
17:09 How do you control the order that effects/plugins are applied in a DAW?
21:26 Is there such a thing as an acceptable amount of timecode drift?

Previous episodes referenced - Sound Devices MixPre Re-mix Demo:

ZOOM F8n First Impressions:

Sound Devices MixPre-10T Review:

Previous Sound for Video Session where we covered batteries:

Sound Bag Tour:

Please consider my sound for film classes available over at http://school.learnlightandsound.com

Gear and links discussed/used to record this episode: 

Dummy Battery adapter for Panasonic GH cameras (D-Tap to GH camera) - power your Panasonic GH camera for hours with a cine style batter like the JuiceBox below.

JuiceBox V-Mount Battery - cine battery that can also power your recorder
 
Zacuto Zwiss Plate V2 to attach the cine battery to your camera rig (requires rods)

V-Mount Battery Plate to hold the battery to the cheese plate

Aputure COB120D LED Light

Sennheiser MKH-416 Shotgun Microphone

RODE VideoMic Pro+ - Camera shoe mount shotgun microphone

Sound Devices MixPre-3 Audio recorder/mixer

Sound Devices MixPre-6 Audio recorder/mixer

Sound Devices MixPre-10T Audio recorder/mixer with timecode generator

D-Tap to Hirose Adapter Cable - to use a cine battery with your Zoom F4, F8, F8n or Sound Devices MixPre-10T

Electrovoice RE20 Dynamic Broadcast Microphone - used to record this session

Sound Devices 633 Audio Recorder/Mixer - Used this as the preamp for the microphone and then fed the audio to the camera in this episode

Copyright 2018 by Curtis Judd

Outro music licensed from Artlist: Sunday by Young Pixies - Amazing Journey. Artlist provides high quality music tracks for your film and video projects. You can receive two months off an Artlist account by using our link.

Ethics statement: Some of the links above are affiliate links which means that if you click on them and buy, I get a small commission. You don't pay more by clicking these links than if you just went to the retailer’s web site on your own. I use the proceeds to buy additional gear to review and help you improve your sound, lighting, and video. Thanks for your support!

Adobe Audition Analysis Tools

Adobe Audition is an incredibly powerful, rich tool for editing and mixing your sound for film and video projects. Sometimes something doesn’t sound as great as you’d like but you can’t quite put your finger on it. That’s where the analysis tools in Audition can help. Here we quickly show the amplitude statistics, frequency analysis, spectral frequency display, phase analysis, and spectral pitch views. Let us know if you’d like to learn more about one of these.

Links to gear discussed and used to shoot this episode:

Sennheiser MKH8050 Boom Microphone - this is the microphone I used

Sound Devices 633 Audio Recorder/Mixer

Aputure COB 120t - This is the light I used as a key in the talking head clips

Aputure Light Dome Soft Box - Used to soften the key light

Lupo DayLED Fresnel Light with Barn Doors - Used for the “rim/hair” light

Blackmagic design Ursa Mini Pro Cinema Camera - used for the talking headt shots in this video

Sigma ART 24-70mm f/2.8 OS Lens (Canon EF Mount) - Used this lens on the Ursa Mini Pro

Panasonic GH5 - My most versatile small camera for video

Panasonic 12-35mm f/2.8 OIS Lens - incredibly versatile lens that is on the GH5 most of the time

Copyright 2018 by Curtis Judd 

Music - MzA by Cary Judd, used with permission

Ethics statement: Some of the links above are Amazon.com or B&H Photo affiliate links which means that if you click on them and buy, I get a small commission. You don't pay more by clicking these links than if you just went to the retailer’s web site on your own. I use the proceeds to buy additional gear to review and help you improve your sound, lighting, and video. Thanks for your support!

Sound for Video Session: Fairlight Audio First Impressions

In this week’s Sound for Video Session, we take a first look at DaVinci Resolve 15 Beta’s Fairlight audio panel. This is a full-fledged digital audio workstation (DAW) within a comprehensive video editing, compositing, grading, and finishing application. We aren’t going to dig into all the details, but try to answer the question about whether one can now switch to DaVinci Resolve for audio mixing? The answer is different for everyone, but I hope you find this helpful in making the decision for yourself.

**Update: Several astute viewers have pointed out that you can set the loudness target (LUFS) in the settings. That's great news! It still is not an offline process - still need to play through the entire piece - but it is a step in the right direction.

Gear and links discussed/used to record this episode: 

DaVinci Resolve with Fairlight Audio (beta or production and free or Studio versions)

Electrovoice RE20 Dynamic Broadcast Microphone

Allen & Heath SQ5 Digital Mixer/Audio Interface - This is my first time using this to record a Sound for Video Session. Seems like it worked nicely.

Copyright 2018 by Curtis Judd

Outro music licensed from Artlist: Keep an Eye by Back to Dream. Artlist provides high quality music tracks for your film and video projects. You can receive two months off an Artlist account by using our link.

Ethics statement: Some of the links above are affiliate links which means that if you click on them and buy, I get a small commission. You don't pay more by clicking these links than if you just went to the retailer’s web site on your own. I use the proceeds to buy additional gear to review and help you improve your sound, lighting, and video. Thanks for your support!