Like most everything else these days, microphone wind protection has become a complex subject. There are many variations of wind protection equipment now on the market and some of it costs more than the microphones themselves. Guidance may be necessary for television news reporters who work on their own in the field and need protection against strong wind, but don’t want to handle unwieldy gear.
There is no right or wrong way to do audio recording. It is equal parts art and science. One engineer may be very precise in the setup of his gear, while another just goes by feel. Both ways can provide outstanding results. However, there are some basic guidelines that can help you always capture high-quality recordings.
Today’s broadcast engineers face a unique challenge, one that is likely unfamiliar to these professionals. The challenge is to design, build and operate IP-centric solutions for video and audio content.
Looking to take advantage of distribution and cost benefits, many broadcasters have expressed an interest in migrating to full IP infrastructures. However, if you’ve got a full complement of baseband equipment and workflows that your team is familiar with, it might not be practical to attempt a complete overhaul in a facility.
Most novice videographers can plug a microphone into a mic jack and get a reasonably good audio signal. However, at times, many get noise, distortion or an unusably low audio level. That is usually caused by mismatch in audio connection types.
Mobile editing that is self-contained on a cell phone has become a reality with capabilities that can be astonishing.
The options for sophisticated post production editing are becoming ever more varied. Now, you can even carry them with you in your pocket.
Broadcasting used to be simple. It required one TV station sending one signal to multiple viewers. Everyone received the same imagery at the same time. That was easy.