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It has long been an open secret in video production: great sound is far more important than the quality of the images. Surround, or even stereo audio, can dramatically improve an average quality picture on virtually any kind of programming — from news and documentary to feature films.
In the last decade, there has been a significant shift what viewers like to see on their televisions with much of that content recorded as live reality style shows. Capturing such spontaneous content brings many challenges, but one of the biggest is managing the huge amounts of media created. Fortunately, with the help of timecode and synchronisation, it is possible to wrestle back some control over the content while saving money.
Often called “walk-and-talk” recording, videographers are often confronted with recording the audio of subjects in their workplace or during an interview with two or more people walking in full motion. Here’s how to insure excellent audio.
When recording live audio with a dynamic microphone, a good recordist may want to know what is the maximum sound pressure level that mic can handle without distorting. As with many such seemingly basic questions in audio, the answer is not so simple.
CES 2017 has come and gone with most press reporting Virtual Reality landed with a virtual thud. My view of CES is different because I see two very different types of VR.
One of the most popular microphone specs is frequency response. However, is the frequency response spec really an accurate description of a microphone’s sound characteristics?
Self-noise in a microphone is important if the recordist is seeking to come as close as possible to making a clean, noise-free recording. But how does one read self-noise specs and what numbers are good and bad when making a decision on which microphone to use?
The glamor of TV sports journalists swarming and reporting from big pre-game venues is nearly impossible for visiting fans to ignore, but the real TV action on and off the field is invisible without a spectrum analyzer.
