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Found 18 results

  1. Hi all!New to this forum, excited to chat and learn from the experts!My question involves syncing two channel/track audio to video in FCPX.I'm capturing dialogue/sound (it's a cooking show) using two Sennheiser wireless lav mics connected to a Zoom H4N recorder. Each subject/host has her own transmitter and receiver.I'm looking for the cleanest/most efficient way to sync this sound to the video while being able to work on each individual mic and mix the two as needed.Here's what I've discovered so far:1) If I set the Zoom record mode to stereo I get one file and left/right channels. If I sync
  2. Hi all!New to this forum, excited to chat and learn from the experts!My question involves syncing two channel/track audio to video in FCPX.I'm capturing dialogue/sound (it's a cooking show) using two Sennheiser wireless lav mics connected to a Zoom H4N recorder. Each subject/host has her own transmitter and receiver.I'm looking for the cleanest/most efficient way to sync this sound to the video while being able to work on each individual mic and mix the two as needed.Here's what I've discovered so far:1) If I set the Zoom record mode to stereo I get one file and left/right channels. If I sync
  3. I mixing audio for a party scene inside of a house but having some trouble making the atmosphere seem believable. I have party-goer noise, dialogue, feet, but im unsure how to balance the music? Which frequencies should I remove/enhance for the music/dialogue?
  4. Hello all, I am a student interested in filmmaking and i have an idea for a short that I would potentially like to shoot on super 8. I use a canon 514 xl which shoots at 18fps and gets scanned in at 24. I end up bringing it back to its original speed in premiere later on but i would like to record dialogue at the same time for a little 2 minute short. I was wondering if anyone has had experience with blimping this camera or recording dialogue with a similar super 8 setup as I would much rather use film than digital for this project. I appreciate any advice you guys can give me. Tha
  5. Offered here is a Nagra SN Tape Recorder in excellent condition. Perfect working order with many extras including: 14 tapes Tsr 260 resolver (Ryder magnetic sales corporation) - Very rare Original shoulder carrying case Chords Couple lav microphones Copy of original instruction manual (Accessories alone are worth $1200...$300-$500 in tape alone) Available for inspection/pickup in West LA. Email anytime. Thanks! Happy to send more photos upon request.
  6. Hello all, I've run across an odd reel of 16mm and am trying to identify the type of sound track. It looks like the reel has 6 tracks of optical sound squished into the optical track, but that's absurd and ridiculous. Has anyone encountered this before or have a better idea what I'm looking at? Assuming this is what it looks like, anyone know what sort of setup would have been used to create or or play it back originally?
  7. Hi all. I have been using the Zoom H4n as a portable audio interface on shoots. I've been using a RodeLink wireless lav for single presenter shows and used the built in mics for shows with more then one presenter, but as it's not very good from a distance I have bought a Sennheiser MKE600. What I was wondering, for all you audio genius', was is there a way that I can have the Sennheiser MKE600 plugged into input 1, and another mic (for arguments sake say a sm58) plugged into input 2 whilst recording two separate audio files? I know you can adjust the gain of each pre production but
  8. Im sure there are many ways to do this... I guess its preference. How would you guys and gals shoot a walky talky scene? Example, If only the main character is seen talking. The person he is talking to is never shown on camera. Would you record a high quality voiceover separately from the unseen person and edit the audio in post for the effect? Or would you actually have them talk through it during the scene? Thanks in advance. (Note) Im shooting this soon.
  9. Hey, I noticed some interesting personalities coming from Benoît Debie cinematography practices. I was watching a movie directed by Wim Wenders called Every thing will be Fine. As an added side-note I want to mention the writer,Bjørn Olaf Johannessen, because its connected to the bigger image I noticed personally. The things Im interested in is 1: Benoît's light choice for an early morning scene in this movie? & his all around esthetic - lighting & framing specifically. And the other question was 2: The combination of influences on this projects development? First, the lig
  10. What does everybody use to sync audio and video in Premiere Pro? I've been using Pluraleyes from Red Giant to sync footage for years now. Pluraleyes has never given me any issues...until now. A month ago we shot a wedding and everything was normal as always. But whenever I would use the software to line up the footage this happened (this is not my video): The exact same thing happens to me. We then shot another wedding two weeks later, and I wanted to see if Pluraleyes would line that footage up. Guess what...I lined up everything perfectly, just as it always has. So I'm think
  11. Hello everyone, I have researched online and can't come to any solid conclusions about how sound design and/or mixing is done when you're working optically. For instance: I'm making a movie and seriously considering taking it the full photochemical route, ie. shooting on 35mm scope, processing the film at Fotokem, getting a work print made (no DI), cutting the film on a flatbed, conforming the negative, timing the answer print, and striking a release print. The idea is to keep my movie completely off a computer. But the thing I can't seem to wrap my brain around is the audio part of
  12. Hello, I'm familiar with some of the great ready-made condenser mics (e.g, Rode) that slide into the flash shoe, and those are great. However, a particular project requires something different and unique for diegetic room sound, so I have a collection of older (some are condenser) microphones (some interesting German mics, PZMs, etc.) I would like to use, while retaining what general lightness and nimbleness of the rig as I can. Does anyone have recommendations for nice XLR Adapters/Portable Recorders intended for DSLR video? The idea being to run one of the following 1)
  13. Hi, I was wondering if anyone here has any experience shooting dialogue on a warehouse location shoot? And if so, can you point out the challenges you had and how you solved them... It isn't set in stone but the most affordable and accessible option for us right now is to rent a warehouse space and build the sets inside of it. I'm filming a 1940s film noir and building some basic interior sets. I'm assuming a warehouse will be a challenge for audio and I'm wondering if putting ceilings on the sets instead of leaving the sets with no ceilings would help. We'll also have a good supply o
  14. So I am still very new to film making. Last year the only camera I had was a GoPro and I decided that I wanted to do CInematography for the rest of my life so I decided to skip DSLRs and by a blackmagic cinema camera. I have spent the past 4 months learning how to film and colorgrade and I finally feel ready to start getting audio but I have no idea what to mics and audio equipement to buy? Does anybody know what mics I should get if I want to get good audio and keep the camera run and gun. I'm in college and I film by myself so I want to be able to just throw all the gear in my backpack s
  15. Hello there! FIRST OFF: WARNING; I am complete NOOB in this field so expect to see something really bad. I am just posting this to get some basic feedback on how to present myself on video (how I should stand, look into the camera, how I should move my face muscles when I speak and so forth), some lightning changes, editing changes, etc.,. My purpose of shooting video is appearing as a "spokesperson" (so yes, I am definitively wearing the wrong outfit). I will get better clothing, another mic instead of the one inside my camera and a complete white background since my camera has
  16. Hey folks, Newbie, and enjoying the wealth of info here. I'm wondering if you can tell me what you look for when you're licensing music for your projects. I'm a professional music producer now for about 15 years, but only recently getting into music for film/tv/ads. I have 2 separate projects going at the moment. I am working on a portfolio of music for license, and/or to represent my abilities for bespoke projects over here: https://soundcloud.com/whitesploits I am also uploading corporate motivational type stuff for the Royalty Free site AudioJungle over here: http://tinyu
  17. Comrades, I have some footage I shot that I would like to add sound too but I am totally baffled as to how to do it. When it comes to Final Cut Pro I am a total neophyte. I shot using a Canon Scoopic MS. I shot it on 24fps. I then got my footage processed and then transferred to HD 1080 @ Pro Res. I recorded audio from the day using a ZOOM H4N but it my stupidity I forgot to put the windscreen on my H4N, so the audio footage has a lot of what I call blow-outs from the wind. I asked my friend to re record all the songs from that day and I have all the songs re-recorded. The problem I am run
  18. Hey there, I'm new here and I'd like to start asking a question about sound. Last year I shot a movie with a friend of mine, using as record devices a condenser microphone, linked to a sound card, which was linked to the laptop. Now, I brought my sound card home with me, but now it seems I can't find it anymore... Looks like I'll have to buy another one, but since I'm not an expert in this field, I can't really remember which are the features of the sound card I used last time, nor the brand... can someone tell me which are the basic features one should require from a sound card of t
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