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Found 16 results

  1. 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?
  2. 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. Thank you Nick
  3. 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.
  4. 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?
  5. 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 it would be really helpful to be able to record using both mics and then be able to plug my sd card into my computer and have a file for each mic. So far the only way I have found is to set the H4n to MTR and record as a multi track, but its not as user friendly as the four track interface as it gives you less room to scope the gain levels... If anyone has any other suggestions then that would be greatly appreciated. All the best Lew
  6. 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.
  7. 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 lights question: If you look at the stills I added theres a neon quality to Benoîts lighting in this scene. What I mean by that is the light glows and wraps around some items. The pictures I think show his representation of a really early/late night 2 morning transition lighting. There are 2 ext lights skimming off the exterior windows framing & filling some of the frames space. In the distance outside is the wide open field and the people are in the foreground. Anyone have any knowledge on what Benoît's like lighting choice was when he created that light. From what I noticed from Benoîts style is that he tends to make some of his lights glow. You think this was enchantment in edit or on location DP choices? If you watch & check out stills from http://www.imdb.com/title/tt1567609/?ref_=ttmi_tt http://www.imdb.com/title/tt2101441/?ref_=nm_knf_t1 https://www.youtube.com/watch?v=B3eAMGXFw1o The other part I wanted to see if anyone noticed was the quality the movie gives off? To me (generally speaking) its gives off part french color/saturation look w & audio style, German novel/script story development & Scandinavian spatial theories. I can expand. Just curious to see if anyone picked up on what Im seeing as the embodiment of various countries. Its neat I think. P.S The lights Im interested look to be the same color you'll see dotted around this movie as well as in Rihannas MV & the flashlights in The Maze Runner & other films.
  8. 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 thinking, "Great it works." Now I have the same issue just slightly different. Pluraleyes lined up the wedding ceremony, no problems. Pluraleyes lined up the rehearsal dinner speeches, perfect as can be. But then I tell Pluraleyes to line up the reception, it will not sync it. For the record, Comcast has better customer service than Red Giant. I even called during their listed business hours and they did not answer. I also sent them an email a month ago, and they have yet to get back with me. I have tried using Adobe's version of video/audio syncing and it doesn't work for crap.
  9. 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 the process. How do I sync the separately and digitally recorded dialog to my work print? How do I mix in the music I want? Most importantly, the sound effects? I tend to have substantial sound design in my films, sometimes 150 tracks or more, and spend around 80% of my post production process on sound. Is there a way to do this optically? Should I just go with a DI? I hear a lot of terms like sepmag, and 35 sound mag, but I'm not really sure what they are or how you edit with them. Thanks in advance for your help. Colin
  10. 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) a 48V Phantom Powered Condenser mic into a box that fits nicely on or in the vicinity of the camera, which takes the XLR balanced in, provides 48V, perhaps has a few conveniences (e.g., 100hz cutoff/high pass filter switch, pad switch, DB/input meter, etc). A built-in Limiter would be an obvious plus but probably would push the price beyond where it needs to be. I would be interested in peoples' experiences using these single channel types (that have a 1/8" output to plug into the camera's line in), particularly where on-board power (e.g., 9V/Battery) vs external power supply is concerned (as to noise floor and any substantial impact on quality). 2) The same as #1, but multi-channel, 2-4 is probably the sweet spot I'm aiming for (though 8 inputs stacked couldn't hurt if it's compact enough). Though in this case, I'd be talking about an external recording device, not an adapter, that's oriented towards video audio capture, and ideally, built with filming with these types of cameras in mind (then transferring and mixing that audio in post, thus having the individual channels separate to work with in editing). So, the same questions as in #1, but also, I'd wonder which devices have proved very suited to the task (35mm DSLR filming in studio, and field capability would be a huge plus) I say "these devices" because I understand the 5Dmkii and mkiii can take SMPTE timecode into the 3.5mm audio input, so I would imagine there are some devices that are like the many others out there, with 1-4 XLR ins with 48V, but perhaps also with an extra 3.5mm cable out to transmit timecode, and perhaps one or more channels of audio (as a submix, for redundancy) straight into the camera while filming? A built-in mic for in-a-pinch situations wouldn't hurt either. I came across this device (Beachtek DXA-5D XLR Adapter) from a cursory search, which has a nice look to it (it's single channel, thus the small and elegant design size-wise, relative to the camera base). Something like that would be great for #1. For #2, that'd be a great format (with the dual tripod connectors), but most likely it's going to be a more outboard piece of equipment due to having audio data storage onboard, more connectors, and greater power requirements. Thanks for your kind suggestions!
  11. 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 of sound blankets.
  12. 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 show up at location and be ready to shoot in 2-5 minutes. My budget for audio is $500-$600.
  13. 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 "wrong" color sampling 4:2:1 for using green screens (if I understand things correctly). I just wanted to try to shoot something and edit some in Adobe Premiere Pro CC to get some feeling. https://www.youtube.com/watch?v=63vvsATq9U8 Film was shoot with: Canon LEGRIA HF G25 in Cinema Mode (a button you can choose; this one, auto or manual mode). I also used two softboxes which is why you see two shadows (and I added artifical lightning in Adobe Premiere Pro CC, just to play around). I added used "expander"-preset inside "Dynamics" which is an Audio Effect in Adobe Premiere Pro CC to cut away all background noise which the camera otherwise pick up. I'm deciding on whether to get a shotgun microphone or TRAM 50 lavalier. What are your suggestions? I am also curious on how to do with the lightning, how close or far away I should be with the camera so I can use the "rule of third" (standing in the middle just look like a poor mugshot if you ask me; my room is about 3,5 meters wide where I stand; yes I will shoot in my apartment). I will also get some simple lightning above my head so I can "pop out" of my, upcoming, white background. Feel free to give harsh but well-meant suggestions on what I can change 'till my next video besides the obvious clothing, hairstyle, added make-up and such. I am very excited to hear from you professionals and highly experienced film- and/or promotional video makers. And yes, you may laugh your butt off at my bad video! ;-) Take Care & Have An Awesome Day! / Max K.
  14. 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://tinyurl.com/secretpony (decided to use a pseudonym to avoid confusion between the 2 projects) Both projects are only about a month old, but so far so good. The SoundCloud (more varied and in depth music) has gotten good response but I haven't felt ready to pitch it to libraries and production houses quite yet. The Royalty Free site is seeing a few sales per upload, which is good for a young account. I want to find out what sort of attributes you look for so I can take this into account as I compose for these 2 projects. I'm sure there are a million different approaches and types of usage that video producers work with, but I'm also sure there are many things I can think about at this stage. I want to develop my skills in a valuable way... Thanks so much for your input, -EW
  15. 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 running into is how to sync the footage with the newly recorded audio. I should of gotten my camera modified by the film group to shot shoot crystal sync but at the time I could not afford it. The 24 fps marking on the Sccopic MS is probably not exactly 24, correct? However once I got my footage digitally transferred to HD wouldn't the frame rate change? Basically I am asking how can I change the footage frame rate in FCP so that I can match it up with my audio? Also what are some basic tips/things to do when editing film transferred to HD on FCP? Like for instance: getting rid of the edges that show the perfs so that I just get the (4:3) box? On some of my transfers I get a little beyond the pert, so I get a sliver of white, I am sure I can crop it out but I do not know how to do this operation :( Can I enhance my footage, perhaps make it look sharper? Lower the grain/noise ( I got good exposures. I figure ask anyway.) Can I play with the colors? My main goal is to sync the audio with the footage. I almost matched the audio with the footage but it comes undone at some point and then is out of sync. I did this in the crudest manner just by moving the audio to the point where the musician starts playing the guitar. I normally edit in camera( i started out using super8 and really dig the straight8 thing but I now I ready to actually EDIT). I plan on learning how to edit the original way, splicing and taping/glue/film cement my film but I acquired some computer programs and really need to learn how to use them, I also plan on taking some courses in the various programs (after effects/fcp x/ compressor/etc). For now I figure I come here and ask. Please excuse my ignorance/stupidity. here is rundown of my gear used and available: Canon Scoopic MS 16mm camera *unmodified Regular 16mm* non-crystal sync ( not for long, like i mentioned earlier I plan on sending my camera to get the crystal sync mod) Final Cut Pro X Compressor Adobe After Effects Adobe Audition I got the film processed over at PacLab digitized at DiJiFi I just acquired these programs as a gift but I am computer illiterate. Sincerely, Rudy
  16. 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 this kind? It is a really important matter to me, thanks to all of you. P.S. if this can help, I was using cubase as recording program.
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