In this week's sound for video session, we cover my thoughts on which order I apply each effect or process when cleaning and sweetening dialogue audio.
This episode shot/recorded with:
Sennheiser EW112 G3 Wireless Microphone Kit (be sure to check which frequencies you are legally allowed to use in your country)
Voice Technologies VT Duplex Headset Microphone
Panasonic GH5 Camera
Copyright 2017 by Curtis Judd
In this week's episode, I discuss how the limiters in the Zoom F4 and F8 recorders work (not just simply digital limiters) and walk through the location sound job packing checklist I use before each job.
Sound Samples of Digital and Analogue Limiters:
Checklist for gear you need on location sound jobs: https://drive.google.com/open?id=13sI0mGplMC5p2VZHXotDdg9mSdvJVspP2H9_6qyn4Pw
Gear In my Kit - see all the details with links over at kit.co
Sound Devices 633 Recorder
Sound Devices MixPre-10T Recorder
K-Tek Avalon Carbon Boom Pole
Orca OR-30 Sound Bag
Orca OR-40 Audio Harness
Rycote Cyclone Wind Shield
Schoeps CMC641 Super Cardioid Boom Microphone
Sennheiser 8050 Super Cardioid Boom Microphone
Voice Technologies VT500 Lavalier Microphone
Sanken COS-11D Lavalier Microphone
Rycote Stickies (for concealing lavalier microphones)
Sony MDR-7506 Closed Back Headphones
Comtek Audio Feed Kit
Sennheiser EW112 G3 Wireless Microphone Kit (be sure to check which frequencies you are legally allowed to use in your country)
RODELink Wireless Filmmaker Kit
Copyright 2017 by Curtis Judd
One of my favorite pro-sumer level audio recorders is the Zoom F4 (affiliate link to B&H which helps support my reviews). It was a very good value when it was priced at $650 USD, but now it looks like it is (at least temporarily) priced at $500 USD over at B&H Photo. If you've been on the fence, now may be a good time to jump in.
Here's my most recent comparison episode which includes the Zoom F4:
And here's my original review of the Zoom F4:
In this week's Sound for Video Session, we answer questions about the following:
00:10 Camera vs audio recorder quality?
01:49 Mixing and loudness - which order should you do thing?
04:50 Gear for recording high quality audio with smartphones?
08:04 I'm picking up an AM radio station in my recordings, what should I do?
09:45 Sound Devices 633 - which inputs do you use for wireless and boom mics?
14:52 How to record in live theater?
16:44 When do you use a shotgun vs. a supercardioid when recording indoors?
18:12 How do you set levels when run & gunning?
19:22 How do I record better quality audio to smartphones?
21:56 What's the next step up in quality for wireless (up from RODELink, Sennheiser G3)?
26:39 What are your impressions on DaVinci Resolve and Fairlight for audio processing?
30:47 Do microphone cables that cost more make a difference?
Previous session on recording live sound with Mike Stranks:
Links to gear discussed:
Remote Audio 25 foot Canare Microphone Cable
Shure TA3-F to XLR-M Adapter Cable (e.g., to take a feed from DJ mixing board to SD 633 line input)
RODE iXLR - Adapter for Dynamic XLR Microphones to Apple Lightning (record with reporters' microphones to your iPhone)
Saramonic SmartRig+ XLR to 3.5mm preamplifier and adapter with phantom power.
Review:
Lectrosonics Professional Wireless Systems
Presonus Faderport Controller Surface for Mixing - affordable, motorized linear fader makes mixing easier and quicker.
Mogami Professional XLR Microphone Cables
Copyright 2017 by Curtis Judd
A couple of years ago, Tentacle Sync released their first timecode generator which was not only easy to use but also more affordable than other generators. Now they have released their next generator called the Sync E with wireless setup and monitoring from iOS or Android devices. Here we show how timecode can help simplify the process of capturing professional quality sound separate from the camera and easily and quickly syncing the sound to picture in post. We also look at the new features on the Sync E and how they make the process of shooting with timecode easier than ever.
Demonstration with many video and sound clips:
Links to gear discussed and used to record this session:
Tentacle Sync Sync E Kit (2 Sync E timecode generators and license for Tentacle Sync Studio
Tentacle Sync Sync E (single timecode generator and license for Tentacle Sync Studio)
Sound Devices MixPre-10T Audio Recorder/Mixer
Sennheiser MKH 8050 Supercardioid Boom Microphone
Tentacle Sync to BNC Bidirectional Timecode Cable
Tentacle Sync Cables for all other cameras
Copyright 2017 by Curtis Judd
Links to gear below. If you found this review helpful and are planning to buy one of these lights, please use one of our links below which will help fund our ongoing efforts to make high quality filmmaking gear reviews.
Sound Devices added some nice options to the prosumer audio recorder market earlier this year with the introduction of their MixPre-3 and MixPre-6. And now, they’ve added the MixPre-10T which takes the MixPre line legitimately into the professional recorder realm for $1800 USD. I pre-ordered and the 10T arrived yesterday. Let’s take an initial look with a full review to follow in a few weeks when I’ve had more time to work with it.
Links to gear discussed and used to record this session:
Sound Devices MixPre-10T Audio Recorder/Mixer
Sound Devices MixPre-6 Audio Recorder/Mixer
Sound Devices MixPre-3 Audio Recorder/Mixer
Voice Technologies VT Duplex Headset Microphone
RODE Reporter Handheld Dynamic Microphone
Sennheiser MKH 8050 Supercardioid Boom Microphone
Adapter Cable for Mini XLR outputs (TA3F to XLRM)
AC to Hirose Adapter (useful if you plan to use the 10T as an audio interface)
Sound Devices MixPre Battery Sled for Sony NP-F Style Batteries
Copyright 2017 by Curtis Judd
In this week's episode we cover three tools you can use to help reduce noise in your dialogue audio recordings: High pass filters, de-hum, and de-noise plugins. We cover most of this in Adobe Audition but also jump over into Izotope RX to show the same set of tools. The same principles apply for other audio editing apps as well.
Links to gear discussed and used to record this session:
Sennheiser MKH 8050 Supercardioid Boom Microphone
Voice Technologies VT-500 Lavalier Microphone
Sound Devices 633 Audio Recorder/Mixer
Electrovoice RE20 Dynamic Microphone - used to record this session
Antelope Audio Orion Studio Audio Interface
Copyright 2017 by Curtis Judd
This week we answer a couple of sound questions:
- What types of sound jobs are most in demand?
- Which microphones can you use to record in very noisy places like factories?
Example of how much noise isolation you can expect from the RODE Reporter handheld microphone:
Links to gear discussed and used to record this session:
Voice Technologies Duplex Cardioid Headset Microphone (this will provide more isolation from noise than most other options)
RODE HS2 Headset Microphone (another headset microphone, slightly less expensive but with an omni-directional polar pattern)
RODE Reporter Handheld Microphone (I used this to record interviews at the NAB show with good results)
Sennheiser MD 46 Cardioid Handheld Microphone (More noise isolation but you have to keep it close to whomever is speaking)
RODE iXLR (Allows you to connect the RODE Reporter or Sennheiser MD 46 or any other dynamic XLR microphone to your iPhone and your phone becomes the audio recorder or camera - also used this in the interview with Paul from Sound Devices above)
Electrovoice RE20 Dynamic Microphone - used to record this session
Antelope Audio Orion Studio Audio Interface
Copyright 2017 by Curtis Judd
What do you do when the director or producer come to you and say, "I need 4 headphones..."?
Here's a brief overview of setting up wireless headphone feeds for producers, directors, and others on set. You can do this a variety of ways, even using a spare wireless lav system (but that only gets you one set of headphones). On the pro sets, they often use Comtek or similar wireless systems which are nice in that you can send the same feed to as many sets of receivers as you need from a single transmitter in your sound bag.
Links to gear discussed in this session:
Comtek M-216 Transmitter (Option P7) - expensive but sturdy and up for several years of service on rough and tumble sets and locations.
Comtek PR-216 Receiver - This is the thankfully less expensive receiver. You can use as many of these as you need with a single transmitter. Also well built for years of service
Comtek XLR to 3.5mm adapter cable - If your mixer/recorder has an XLR output that you'll use to feed audio to the Comtek transmitter, here's an adapter cable to make that work. If your mixer/recorder has a 3.5mm output, any 3.5mm TRS to 3.5mm TRS cable will do. Just keep it short so it doesn't pick up interference.
Sony ZX110 Headphones - Good enough to get the job done with comfort, plenty loud. They fold and have flat cables which help prevent tangles. Not too hard on your pocketbook if they get destroyed by a crew member (about $15 USD each).
Copyright 2017 by Curtis Judd
Several requests came in to look at more professional level microphones for recording dialogue sound for film and video. So let’s have a look at and a listen to three higher-end microphones that are well suited for recording dialogue while indoors. We’ll have a separate episode on shotgun microphones which are better suited for outdoor use.
The Schoeps CMC641 is used in many mid to large budget film and TV productions. It's one of my favorite all-purpose microphones when recording dialogue indoors. It's only potential downside, and not an issue I've encountered yet, is that it can have issues when recording in very wet/humid environments (e.g., jungles or rain forests).
My newest addition is the Sennheiser MKH 8050. This one is also a good all-rounder but does have its own signature sound that works particularly well for voices with a lot of mid-range energy. For these voices, it seems to smooth them out in a rather pleasant way (this definitely applies to my voice).
Then there's my long-time friend the Audio Technica AT4053B. This one is actually a hyper-cardioid microphone. It works really well and sounds great for many voices. The only time I don't love the sound of this mic is when recording people with particularly sibilant voices (lots of "S" and "C" sizzling energy). It also has high pass filter and -10dB pad for recording especially loud sound sources.
If I could only choose one of them? Wow, that's tough but it would probably be between the Schoeps and the Sennheiser. Please don't make me choose. ;-)
Links to other gear discussed or used to shoot this episode:
Rycote Shockmount - Shockmounts are a necessity when you're handling a boom pole with a microphone on it otherwise you'll end up with a bunch of handling noise in your recording.
Aputure COB120t LED Light - My main light for headshots and product shots
Aputure Light Dome Soft Box - I use this for almost every interview/talking head shot
Sound Devices 633 Audio Recorder - a pro-grade recorder/mixer which makes most microphones sound their best
Blackmagic Ursa Mini Pro - The camera I used for most of this episode. It's pretty good.
Panasonic GH5 - The camera I used for the product shots in this episode. It's a good all-rounder as well.
Copyright 2017 by Curtis Judd