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we've had a couple questions on about miking the bride. Do you ever Mike the bride? And if you do house, I never make the bride. I'm never the bride spent all this money on a dress. I'm not gonna go putting Michael, even if it's a white. I know guys have used White Mike's and they slip him down. I don't know. First of all, if you put a mic on a bride, you ain't getting that mike back to the end of the night. And then you got to go bother the bride of the end of the mike at the end of the night to go. Fisher microphone out. You gotta be there when she's getting the dress on. And if you don't have a female in your crew, it could be a little bit awkward. I don't ever mike the bride up the way. I position my microphones on the groom if I have two recorders on him. Usually it's two of these in the pockets, and I'm running microphones on the outside. I'll put one microphone, you know, relatively high up on his lapel, and then I factor in the height of my bride. Okay? if my bride is this tall...

, right? And the groom is my height, sort of like this. And I put the groom's mike here. Her voice is trailing down. If she if she if she's speaking down or if she's speaking, it's it's not falling into the micro. I'd like it to be so I will put the second mike a little bit lower down, right? And this gives me more of a range here in front of the groom of which to capture my audio. Okay, so when they're standing, there is almost a standing relatively close together. I can pick up that audio. We run into a situation recently where it was we had bridegroom. But the priest never brought them together for the ceremony. So he was. Mike did. The officiant was might, and he's standing between them and he never said to them. OK, now come together and join your hands. So they're doing their vows like, four feet apart like this. And I'm like, What is this guy doing in that case, you know, our luckily, the officiant Mike was sensitive enough that it was picking up the bride, but it's not optimal. You're still gonna have to raise that African introduce noise. It's gonna be a problem, but I don't wana Mike the bride. I feel like it's too much of an inconvenience for her. I feel like it's a little bit too obtrusive on our part. And I wouldn't want to go have to fish it out the end of the night and bother them that way. Great. A question from Lucky Rain films. How do you deal with setting levels on recorders? Do you leave auto gain or do you set it to manual? That's a great question. I was actually gonna get into that a little bit, cause that's one of the burning questions going on right now. Yeah, the way. The way I configure these devices is Roland are a five. Okay, I keep the limiter on. On the back is a little switches limiter on. Okay, low cut on. Right. And the mic gain set too high. Okay. And when you put the mike referring into five point a tram to your 50 into it, our trusty tram to your which plugs right into the top here. Okay. You're always gonna do a sound check. We always sound check the mike first to make sure it's good. And we always do that by plugging in headphones directly in. So we would listen back. Make sure it's good when we're Mike checking our mikes. We hold him down here, basically where it's gonna be on the groom Check. Check 12 speaking at a normal volume. And when I mic up the groom, I make sure I tell him, Hey, man, do me a favor when you say your vows, speak up, please. Because you'll you know you'll like it better in the film later on. It'll sound better and just help me out, you know? And, you know, I have a pretty good relationship with my clients. They want me to do a good job for them, so you know, they're gonna help me out wherever they can. And if I could to stay home. Hey, man, just don't whisper into the mike. Speak it will pick him up. We put the limiter on because if he if he now he gets up there and he's talking to her like this, Well, he looked so beautiful. I can't believe this days so gorgeous and everything. And then he says his vows. Like I take you. You know that Limited was gonna knock that down. So we really want to be You want to have that set? I know. That's like a really bad example. Um, we run into that all the time with the priests because the priest will talk to them privately, really softly, like I'm speaking right now, and then he addresses the congregation like this, right? So if I don't have the limiter on your levels going in two different spots or if he was gonna bang through the roof, there is a compressor built into this to a small compressor which will help to even out for those of you don't know what a compressor is. A compressor basically takes an audio, takes audio, and if it has varying levels of intensity, it'll even the mouth it will bring up the lower and limit the higher so it's even across, and it gives it a more full rich sound. So yes, well, you know, I'll play around with the effects on a little bit. See the compressor. Sounds good. Compressors you have to be careful with, because sometimes they'll work too fast. Um, so if it's quiet and then somebody starts speaking, it might. It might jump up too high, and then it peaks in the beginning. Or if it's too slow to the punch it won't get. There you go. You won't. You'll miss the first word or so. So I'll play around it to see how it how it sounds. But generally, Yeah, Mike Gayness set too high because these mikes are being powered by the unit. Okay, so if we leave the mic gain lower, it's gonna be tougher for you to get a quality line level to get or the quality mike level. Rather, um, and it's gonna be harder for the limiter to handle it if it if it spikes. So answer your question, Mike. Gain set too high. If you have a mic gain limiter on low cut on and the loca is just gonna make sure into the, um, really, like hum from an air conditioning unit. That's a low frequency. Um, and what you're basically doing is allowing only higher frequencies the past Mike and into the unit. So, like, we actually, when we're getting ready to go on air here, they were waiting for the heater to kick off because it would have introduced noise into the room and the same thing that will happen. You'll walk into on a hot summer day into a groom's prep, and they've got the A C blasting. But I want audio of the guys talking and all I'm gonna here on my mike is, you know, so the local will help with that. It will help you take some of that out. So that's how I configure the unit. And that's pretty universal. I mean, a lot of these air the same. Ah, a lot of these tabs came, generally has the same settings on it, too. But that's something that I'm glad that they asked, because it's really kind of important to know that also, you just want to make sure that whatever Mike you're using, check your cables to ah, lot of times from these things getting coiled up and stuck into a bag or into a case they can start to short out very easily, and I'm sure some of you may be run into this problem that sucks, and you don't even know it until afterwards, and it might not even start happening until the being. I've had that happen where we put Mike on the groom and then midway through one of the mikes just starts going. Oh, man, my cables are messed up and you beat. That's why we was double Mike. Hope that answer the question. That's how we configure. We have a couple questions. Also on what format does the audio record to MP three format or great question? I always record the wave 16 bit. Okay, way file. bit wave is ah Warren. Compressed file. MP three is highly compressed. You're not gonna get high quality audio out of it. You're gonna save on space. You get a lot more time out of an MP three, then you will wave. Waves are much larger file, but the quality's is very good. Were 16 bit on the recorders usually and then 24 bit on the other, all or the I'm sorry I keep going to the Adderall because it seemed company. The Rolling R 44 will use the well recording 24 bit. The high quality electron ICS in this allow for really nice, high quality recording. And I feel like having that extra, uh, bit rate gives you more to work with in post if I have to remove sounds and things like that. But yeah, wave formatted 16 bit is generally what I use. Cool A question from Darius Under Source Key. Why do you take sound rob from the speakers and not from the soundboard from Axillary, for example, From the deejay we Do Way Tab, we talked. We both tap in this. This ER 44 has four inputs. We will taken XLR line out directly from the soundboard right into Channel one. Generally, Channel two is an XLR cable to one of the handheld Mike's on one of the speakers. Channel three will be the other handheld mic I throw it. On the other hand, I'll make with an XLR cable Channel three and then Channel four. I'll leave as an ambient. A lot of the times. I'll just leave that recording with the internal Mike's just to pick up room sound and I'll, you know we'll adjust that down. So it's a reasonable volume. Not that we would ever really use that. It's good for applause. It's good for if I don't know, G if I just want room tone, something mix in. It's just good to have it. I'm not gonna leave a channel not being used. This doesn't make any sense. But yes, we do. Tapping a soundboard. That's where I get 90% of my great audio for the reception is from the tap. And just to follow up on that from somebody who's calling themselves Rob films in the chat room. Audio recorders do not have XLR inputs how to use the XLR tram or countryman might. Well, the tram likes that I'm using have got have eight inch plugs on them. They have the small stereo h 1/8 plugs. So, basically, you know, that's that's how I own her face. I don't ever run these into XLR cables. Okay? There's just no need to do that. Thank you. Any other questions? If you guys think of something shouted out to we were talking with before the break, so Yeah. Okay. Um, carload door Tensy would like to know. How do you see video and audio files with two different items Since you know you're off camera, I guess. How do I save them? Think. Oh, sink them. Yeah, we're gonna get into this on day three heavily, but we use a program called Plural Eyes and Plural Eyes is how many people here use paralyzed. I should see everything. Every hand up. Okay, Floral eyes is an amazing standalone application that allows you to take all of your video files and all of your audio files and drop him in and it gives you a little timeline in the application. I'm going to show you this, but essentially what it does is it analyzes the way forms of the camera audio which we recorded using our our microphone here, Um And then it analyzes the way form of the audio that you captured with the external recorder, and it sinks it up. And not only does it sync it up, sync it up, but it's amazing it actually sets markers and that it brings it all together, sinks it up, and then it exports out. Well, we call XML and XML is basically just a data file that tells the editing program. Hey, take these video files and these audio files in cinema, and that's what it does. So when you go into your editing program and you import the XML, that plural eyes made you've gotten a sink footage, which is fantastic saves hours of manual sinking or allies paralyzed. Three is the new in the skin. All right, cool. A question from fashion TV in Singapore. Rob Talking about audio We should always use condenser mikes. Question mark. Any exception due to situations? Um, condenser microphones or the most common? That's what you gonna run across the most of this ribbon Mike's. There's, you know, there's all different polar patterns, depending on what you're doing. Most of my some using our condenser microphones the only I mean there's really no exception. Unless you're gonna get into boom miking. That's a little different. These of these mice come in different formats, you know, in different. They all have different polar patterns to, and I guess you touch on polar patterns for a second cause it really does make a difference when using these mikes. Ah, lot of these microphones. The Lava Lear microphones are core are cardio oId microphones, so they're producing a ah, heart shaped capture profile. Basically, it's but if you just imagine a heart shaped someone, we were just on the Are you on the directional work? Just picking up in a round circle, but some of them are cardio and that just determines what area can be recorded or what area the mic is picking up sound in shock and Mike's air much different. They're going to run Mawr on a directional basis. OK, so this being a hyper cardio, it a longer shock on Mike. When I point this, it's something it's gonna have a longer range on it, Okay? But it's going to be very focused. It's only gonna capture a smaller radius. Then, if I was the point, a microphone like this, it's something. If I point this thes two mikes of the same thing, this Mike's gonna pick up everything in right in front of the mike. This Mike is gonna pick up mawr of what's directionally in front of it, far away. Okay, there's hyper cardio oId and super cardio oId okay, and they're both basically narrow, focused polar patterns. Alright, short shotgun mikes. They're usually about that long, are great for dialogue when you have two people. So we're sitting there and you kind of put it in the middle of them because it it is directional. What's gonna pick up only what it's pointed at, but it's a little bit less of a narrow polar pattern. So that's just a little a little note on that condenser mike. Sir, Condenser mikes. It's basically, you know, the standard generally. Okay. Yeah, I got more online. Okay. Can Black F l A C B's is a viable option to wave. I'm sorry. Black F l a c is that is? Yeah. I mean, there's other audio formats out there. A lot of these devices give you two options. Usually it's MP three or wave, I guess. Some of maybe so. There's another recorder out there that has a different question from retrospect. Media from Chicago. Do you name your audio and video files in camera and audio equipment to help you impose? I don't name it in the audio equipment itself. On Day three, we're gonna go into my organizational system. Exactly. If you buy the course and you get the Prieta checklist, it outlines my detailed file system format for organizing all my audio and video. And this is really valuable information, because, yes, I go through all of my I don't go through all the video files. I go through all of the audio files, though, and I call it meaning I take out all the junk that I know I'm not going to use. And then I rename the file for easy access later on. So let's say I get home from the wedding, okay? And I'm getting all my footage of my audio together to back up so I could go to sleep and sleep with peace of mind. I will go through the audio, open up the audio file in an audio editing program like Adobe Audition or Sound Forger. One of these programs, and I will find all the three Xs. I usually put the mic on the groom like 45 minutes before the ceremony starts, when time allows. So what happens is I got 45 minutes of audio I'm not going to use, so I just open up the file. I chop it off. When I recieved the file and a name, it grooms Mike one, and I'll do the same for all of my other audio sources. This way, when it comes time for editing, the editor opens up the package, and there it is. He knows exactly what sources or what he can start sinking them up, implore allies. And he's in his offer on. So yeah, anything you could do to speed up your postproduction workflow is is huge and will definitely save you time and money. Time is money and naming them in here, I find it a little cumbersome. You gotta get in there. You gotta type on this. You know, you gotta go character by character. Um, you know, you can name it for your name. You give it a default name like Rob Adams. One Rob Adams too. But I like they actually go through and name them for what they are. Grooms Mike Officiant, best man and maid of honor, whatever it is. Okay. And we have Ah, just a clarification. What was the name of your sound splitter that you used again? What? The sound splitter. Oh, this is the etc. Don't even know the art accessories split compro. It's made by a company called Art. I literally think I think that's a bit RadioShack. Yeah, it's really not a high tech device. I mean, you could probably order my being hr adirama, but really, I just went down the street to my local radio shack and pick this up and it works phenomenally works really well. There was one question, one gear question that I didn't ask you because I thought maybe you would get there. But it's not audio, but Lenny in Miami had asked, What size speed brand memory cards do you use? Guys? When comes to memory cards, there's a lot of beat over whether low in cards or inexpensive off brand cards are reliable. Um, I don't know, because I don't use off brand ones. I really try to stick toe Lexar, SanDisk and those. I generally used the nominations of 32 16. I don't want to put I don't want you 64 someone 28 because I'm afraid of putting all my eggs in one basket. Cards fail and we've had cards fail on. Weddings were backing up constantly on the wedding day. We have a computer with us at all times. It could just be sitting in the corner, but we're always running off footage to it because I'm so afraid of cards going down. So we're gonna get into this more tomorrow when we will show you the workflow of our day and how we actually shoot, but for example, preps. All right, I know. I'm gonna have one. I usually will start out with a 16 gigabyte card of the preps, one in each camera groom. I'm sorry. 32 32 of the preps, one in each camera, one from groom, one for bride, and then assumes were in the car Driving to the next location. Were copying the prep card into the computer. Okay, because all it's taken me is my laptop and a FireWire card reader plugged right into the side. Okay, It's not taking me. I'm not bringing a huge system. I'm just using a laptop and I'm backing up all the time. They make. They make these devices, which will just actually just pull your card into it. It's a little hard driving in a store. All your footage. That's a way to go to. I highly recommend backing Oppa's. You go. We try not to reuse cards, but we run into situations where we have to re use cards. But I try to keep enough. I have, I think, 6 30 twos and three or 4 But we shoot a lot, you know, we shoot a lot of footage, so it's Ah, do Philip. Quick, but definitely backup is You go. It's really it's really risky to not just leave everything on the cards, get home and then transfer everything over. So any questions, al etc. Another question from fashion TV. How would you handle audio at a Windy Beach wedding? What are the extra steps taken to words? Dead cat Dead cat? You don't know what a dead cat is. A dead cat is a furry windscreen. It looks like the little troll it used to put on the and your pencil a long time ago. And those air phenomenal for blocking wind sound. So it looks ridiculous. They're usually, you know, black or grey or something, and it's a little furry. Windscreen goes on top of your mike, get your arm through any online retailer. Basically, they will block the sound of the beach. So I always try toe see, like how the ceremony was working out if if the groom's back is going to be to the wind, but you just never know, wouldn't kind of does this sort of thing will whip up into your mic, so just use dead cats. You some sort of windscreen, if you can. I hate beach weddings there. So they post so many problems, but yeah, that's that's a common problem. And a common fix would be to get yourself a dead cat 20 or 30 bucks each, Max. Okay, Um, see, this is why use an external mark Mike on the camera and not the on board mic. If it's only for sinking because I will use the audio when creatively, I will use this audio at my preps. I'm not putting a mic on the bride, and I'm not boom making her So she says something worthwhile. I want it to sound clear. So I will use on ah, quality on camera, Mike, for that. A lot of the audio you're going to see in my films that comes from the preps that comes from on camera Mike's So the higher quality might use, the better the sound's gonna pay. Yeah, I never rely on the internal, Mike, even if it's just for sinking. I just wanna have better quality audio. Yeah, all right. Cool. We could keep going, but I know we have other sections to get to. Yeah, you know, I basically I just want to kind of walk you through because we talked about setting up these devices. I thought it might be worthwhile is to talk about the r 44 for a second and you'll see this in action tomorrow. But it be nice to kind of preface this now. So you have a sense of what we're doing tomorrow when we're feverishly trying to set things up for a wedding. Because tomorrow, even though we're gonna have stop start capabilities as we're filming this wedding, going to be able to say, freeze and everybody just kind of freezes, you know, there are gonna be times where there's so much that's involved in the wedding day where we're kind of rushing to get things done. So they are 44 is really my main audio source for my receptions. Okay, Theon camera mike that I'm using is mainly for sink. I'm not going to use much of the natural sound from the reception. Why? I don't want the DJ's music in my films. I'm not going to use that. The only time I'd ever use that sort of sound is it was recorded professionally and I'm making a segment out of that. There are times in my films where they have a band. The bridegroom event. They paid 15 to $20,000 for this band. How do I not use some of that in their film? And there are ways to do that. If I'm recording the band you know, feed directly into the R 44 I can take a piece of their music, sync it up with my cheering sounds and my reference sound from my cameras, and I could have a nice mix of the two. So let's say that the guys are singing Sweet Caroline or something like that. Everybody's going, Oh, well, when they do that, I've got the band playing it here, and I've got them cheering it here. And by mixing the two, it could be really dynamic in the film, right? So when we're at, the receptions were always all the camera people know, and this is part of roles which will get into in a little bit. They know they've got to turn down their audio levels, so we're not capturing bad audio during the reception. OK, so we will use some of it creatively in that respect. But for the most part for dancing footage. I'm not using this as a primary audio source. This is my primary audience source. Because I want my toasts to be amazing. The toasts. They're gonna play a huge role in giving me the story that I need for the film. So a device like this or a similar device that's a channel mixer is gonna is gonna be your best friend. So when I'm tapping into a deejay, the best thing you can do is get an XLR out from the deejay. Okay, this is a high quality signal. What's gonna be a balanced signal? It's going to be, You know, it's probably your best quality option. So I always try to you know, when I when I approached the d J l always say, Or if my audio technician is doing it, he'll say he'll go up and introduce himself. Don't do this when the guys like feverishly trying to set up his equipment, all right, cause he's just gonna look at you like dude really? Like now, right? He knows it was a videographer there. He knows you're gonna probably want to take a tap out of this system. I usually wait until he gets at least his stuff set up, and he's kind of going through his music and stuff on Go walk over and say, Hey, how you doing? My name is Robin with cinematographer. Any chance we could get a feed from you any anything? Weaken Dio nine times out of 10. It's not a problem, and they're willing to do whatever they can do to help you. Um, the exception is the one guy who just doesn't want to deal with you. In which case look at his speakers. If the deejay. If you look at a deejay speaker system and there's any, there's a light on it, like sometimes a blue led on the speaker. Those air powered speakers and usually those have a powered XLR jack right on the back of it. Okay, so the first thing I'll ask him is, Hey, man, if do you have powered speakers or a looker, I'll say, Hey, I notice your powers. Speakers, is it OK? But it's plugging it back. Your speakers. He's gonna love that option because he doesn't have to go fishing through his board. He doesn't have to go pulling out his whole thing and, you know, looking through what he's got back there, he could just say Yemen, just plug in the speaker, Pop. I pop right into that. I run the channel, you know, run the wire. Right. Channel one. I've got my feet from my deejay. Okay, because it's a powered speaker. It's taking the line directly from his board. It's amplifying it. Chances are this line is gonna be very clean as long as his lines clean. Sounds good. OK, so that's one way. If he has to run you out and doesn't have an XLR cable, chances are he might have 1/4 inch plug if you don't know what 1/4 inch plug is. If you've ever seen a guitar, the plug that goes into the guitar is 1/4 inch plug. Okay, R. C A is a different one. We've all seen RC A plugs. I don't think I have an example of one here, but that's the red and white. You got a little red and white. Please go in the back of your VCR back in the day, so those are our C. A's. RCs won't work with this in the only work out. So if he tells it all, man, all I got is R C A. You should probably have in your bag on R C a 2/4 inch converter, little plug and costing 3 99 RadioShack. Something's in audio can be inexpensive. Not everything is $1000 but that little plug will allow you Teoh Jack in 1/4 inch solving the problem of not having the XLR. So when I get my line in from the deejay now, I'm going to set up my are 44 to make sure that the audio is quality. Get yourself a high. You know, high quality pair of headphones. You want to listen to the signal and on the front of the r 44 I'm gonna see if I can demonstrate this. Which camera shy? This is good. Okay. On the front of this, you have two knobs for each channel. So you have four channels. 123 and four. OK, the each knob, the knob on the inside is is a fatter knob. This is your sensitivity gain. Okay, so the higher I push this up, the more is going to raise the level of my audio. But the problem with that is the higher you go with that, the more noise is gonna introduce to It's like I s o on a camera, Okay? It's gonna bring in noise. And then, you know, it s so what I try to do is to keep that as low as possible. A lot of times with lines signals, you have to boost them. Okay, They they need to be amplified. All right, So what I will do is I'll put the sensitivity knob on the inside all the way over to the right, and then one notch down, okay? It's the setting up because of the negative 50 or something like that on the decibel meter. But basically I all the way to the right and then one notch back. And then I used the intern on which is the level to fine tune. Are you finding the same thing, BJ? I'm putting my sensitivity. Well, it depends, but usually around the middle and they're not working. And then I'm using the levels a little bit to the right. Me around the two of three position. Okay, so you're probably getting a pretty nice strong feed and you're able to keep the sensitivity down. That's great. And what I'm doing to is listening on the headphones to see that sometimes if you bring your sensitivity to low, it'll sound muddy, sister. Then when you bring your sensitivity higher than your troubles, some a little better. So listen. Yeah, and I've never run the sensitivity lower than halfway up, so I wouldn't even Yeah, I usually just go all the way and then one notch back and then adjust and usually sounds really good today on. I'm really happy with that. So I'll do that for all three of my inputs, just, you know, turning him down, turning everything down. Except the one I want to listen to soloing in my headphones so I can hear only that and then adjusting as according accordingly. For that, I do keep the limiter on. So there's a little button on this call limiter right here. I do keep the limiter on, and the low cut is on as well. Just like we did on our on our field recorders. Okay. Appear on the top. Horses, fans and power. Some microphones require power like some shocking mice require power. They don't have a self power unit on them, so you have to supply power is by switching on her off and you'll know when you plug in and don't hear anything, you might have to turn on the phantom power, but that's pretty much it. I'm not getting crazy with effects I'm not getting crazy with. I do keep the compressor on. We talked about the compressor before being able to limit not just limit, but to even out sounds or even out the line level. I will keep the compressor on. That definitely helps me imposed. I know some guys that use this and don't do that because they like to compress later in post. I still compress later in post just not to that degree on this. On this audio, I'd rather do less work in Post and let this be the compressor. So that's, Ah, quick overview of this device, and when we set this up for realty tomorrow, you'll really get to see how it sound. You'll hear how it sounds and everything, but yeah, that's that's the essence of how we set this up. And that is like I said before, That's the main audio collector for the receptions and I let it go all night. Let it roll all night generally for for ease. I will let it roll until right up after the speeches and then I stop it. And then I read and I hit record again. Let it roll this way. When I go to edit, I know exactly where my speeches aren't. I don't have to go searching through a four hour audio file trying to find my speeches. Okay, the right at the end of the first audiophile boom. Done. All right, so that's mainly all we do for the receptions. And I have an actual chart. We're gonna go through tomorrow that'll describe exactly what source goes where, if I do have to Mike the groom, I'm sorry. The best man and maid of honor at the reception's always use the or the role in our A five. I find it just performs better on really loud environments with the tram. Tr 50 which is my microphone of choice, is the one that I'm wearing right now. The tram tr 50 tends to be a little bit mawr warm sounding. It's got a rich full sound to it, so when I use that on the speech, it's sort of it focuses right here on the subject. So if the person giving this speech is standing in front of speakers, well, what's it gonna pick up? It's gonna not only pick up him, but probably what's behind them to the speaker's air blasting this way. So I find by using the trans er 50 really kind of isolates the sound right here. So I'm not getting as much of the ambient room, which is very helpful. Some of the other Mike's have tried like the countrymen thesis ankan see us 11 D Theo the Sennheiser me to they tend to be a little bit more ambient and pick up more more sound. So in a nutshell, that's how I'm gonna I'm gonna do that again. Not really trusting wireless mikes and a little bit I mean, these the sound great. Don't get me wrong. They're great microphones, but I just I'm a little worried about interference. And if I don't have an audio technician, I have no way of monitoring what's happening on this. And even if I do have an audio technician and I started having problems, what am I gonna do about it? No, go stop the speeches. Hey, wait a second. Hold on. I gotta fix your mic. You know, we're not going to do that. So we've gotta gotta get it right the first time. And it's gonna run correctly the entire time as we move on. Any questions about that in terms of Okay. Did you I did have a question earlier that I saw. I don't know if you talked. Touch on this is what do you take for the bridal party? Getting ready in terms of audio. That's just everything. For the preps in the morning is done with the on camera. OK, Yeah. Everything is done for that. So, girls, we're all getting ready. Brides getting hair and makeup done. Brides getting dressed all with this mike right here. The only time will ever use some sort of a recorder like this and preps is if I have a maid of honor who's willing to sit down with me, go over her speech and kind of just give me that story. So I'll sit her down in a quiet room and I'll plug a microphone. Usually the tram tour 50 right into the top of this 123 Check my level, Turn it on And then I'll sort of just let her read through it once like this. And then I could always sync it up later to my footage just to give me that underlying voiceover audio. And then I'll have a read through it again with the on camera, Mike and I can cut two together. But the reason I do that is because the sound quality from this is so much better than this and it's gonna sound so much richer. And if I have time to play and we're not under a time crunch and I have ah, willing maid of honor, I'll definitely do that. It's definitely worth it.