Is Curtis Judd a Shill?!

In this episode we contemplate the possibility of accepting no free gear to review for the next three months and focusing more on technique and tutorials. This is to say that we might engage in some ‘de-influencing’, if you will. Let’s talk about it!

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 including processing dialogue audio in Adobe Audition and DaVinci Resolve/Fairlight, recording sound, how to use the Zoom F4, F6, F8, and F8n, and how to get the most from the Sound Devices MixPre series of recorders. Our latest courses cover Sound for Live Streaming with the ATEM Mini and an Intro to Izotope RX.

Support my work creating videos by donating at Ko-Fi.com.

Gear used or mentioned in this episode. The links below are Amazon.com, B&H Photo, Sweetwater, or other affiliate links. As an affiliate, I earn from qualifying purchases:

- Sennheiser MKH50 microphone — B&H, Sweetwater, Amazon

- Sound Devices MixPre audio recorder — B&H, Sweetwater, Amazon

- Impact Turtle-Base C-Stands — B&H, Amazon

- Aputure LS 600x Pro Bicolor LED Light — Aputure, B&H, Amazon

- Aputure Light Dome III Softbox — Aputure, B&H

- Amaran 300c RGBWW Single-Point LED Light — Aputure, B&H, Amazon

- Amaran Spotlight SE — Aputure, B&H, Amazon

- Rosco Prismatic Glass Gobo in Cool Lavender — B&H

- Canon C70 Cinema Camera — B&H

- Canon RF 24-70 f/2.8 lens — B&H, Amazon

- Panasonic GH5 camera — B&H, Amazon

- Panasonic 12-35mm f/2.8 II lens — B&H, Amazon

The intro and outro music for this episode is from Musicbed - “Dynamo” by Virgil Arles. Take your films to the next level with music from Musicbed. Sign up for a free account to listen for yourself.

Copyright 2024, Curtis Judd

Dialogue Boom Mic Blind Comparison Results

Last week we recorded a dialogue script using 4 different boom mics that you might use for indoor dialogue for your film and video projects. We didn’t tell you which was which so that you could let your ears choose which sounded best—hopefully a decent way to let your ears make the unbiased decision on which sounds best to you. This week we talk about how your voting played out—which was most popular and discuss the strengths and weaknesses of each microphone.

Also, you can listen to the uncompressed .wav files here.

• 1st Place: RODE NT5 with the Michael Joly Roadster Mod Capsule (Microphone D)
• 2nd Place: Audio Technica AT4053B Small Diaphragm Hypercardioid Condenser Mic (Microphone B)
• 3rd Place: RODE NTG-2 Shotgun Microphone (Microphone C)
• 4th Place: RODE NT5 with its stock capsule (Microphone A)

Basic Multi Camera Syncing and Editing in Premiere Pro CC

Shooting with multiple cameras is a little more involved but can give your film or video a much more interesting look and feel. In this episode we cover the basics of syncing and editing/cutting multiple camera and sound clips to make a multi-camera sequence in Premiere Pro CC. http://youtu.be/uGGF4COhFac

Davinci Resolve 11 Color Match: Automate Color Correction

Davinci Resolve 11 released last week, including the free Lite version. One of the new features in this version that intrigues me most is the Color Match Palette. This essentially automatically color corrects your footage by matching a color chart (which you include in your video clip) and neutralizes the color as a starting point for further grading. One question that jumped to mind was whether this functionality could also recover your footage from light sources that have uneven chroma output like lower quality fluorescent and LED lights. In this episode, we give it a go with a clip shot under rather poor fluorescent lights. Color Match made quick work of the job, getting a pretty good neutral grade, but was not able to fully correct all colors—the poor quality lights, still impart their signature. http://youtu.be/onom8tpiof8