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Lenses and Audio Equipment

So let's let's get into a little bit more about lenses. I just want to talk briefly about what's in my bag here because lenses man, you can go all different ways with lenses. I like to use the highest quality glass possible, but I know it will break your bank to go out and buy a bunch of canon primes candy. These prime lenses, which are fixed focal length lenses, are very expensive, most of them. And actually I'm not even holding one. It's a zoom lens. This is a prime. All right, this is the 50 millimeter. If you're gonna give you one lens to shoot a wedding with, I give me the 50 millimeter 12 Okay, this canon lens. It's about 1900 bucks, and it's worth every penny. It's an amazing lens. It's versatile. 50 millimeters is a nice range. If you want to get wide, you can back up. If you want to get in tight, it's very intimate. It's a great lens, so I carry a multitude of different lenses because I want to have things to cover all different situations. But I'll give you a list of what I h...

ave and then I'll show you if you're just starting out. This is what you get. Okay, so we'll start with that. So 50 millimeters, Your all canon lenses. 50 millimeter. 1.2. We have two of those at our disposal. The 85 millimeter 1.2. We generally have at least one of those 35 millimeter, 1.4. To me, the 35 millimeter lens. It's sort of the standard mimics what your eye sees the most on a full frame sensor. Okay, by the mark, two is a full frame sensor. The 35 to me. Looks like I'm looking at you right now. And if I was standing here and I work my head worth five d mark two with 35 millimeter lens, this is sort of the image I would get. So if you're looking for that really natural look, it's very good have in tight spots because it's not too wide and it's not to telephone. Oh, I love the 35. It's a very expensive lens. Oh, the 24 millimeter 1.4 is a fantastic lenses. Well, I use that usually fly with that on the Steadicam. I will switch it up between the 24 35 50 on this study camp. Depending on what I'm tryingto, what kind of look I'm trying to achieve? But we do have at least one of those. The 1 35 2.0 is probably one of the least expensive canon primes, and I love it. It's one of the best lenses out there. Thistles it right here. 1 35 is such a great range because it's not the 72 200. Okay, it's a much sharper lens because its prime while this will get you closer to your action, this lens is great for ceremonies if you're gonna have that side angle. But you want to get in, you want to get an intimate. And if you put this on the crop sensor camera, it's really gonna really gonna give you that extra focal length. I love this lens. It creates such a great emotion because it compresses the image you know, brings the four great brings the background in. But, you know, at 20 it really gives you a nice separation on the depth of field. I love this I use We'll get into that second, but that's one of the ones that I really like to use a lot. Ah, 100 millimeter. 2.8. This is a great macro lens We actually have a macro version of this lens will use it for our detail shots. It's really good to have. It's also a great lens for getting up close and being sort of intimate without being right in somebody's face. 72 202.8 These lenses. We have three of these bad boys and we will use him for ceremonies as much as possible. Churches, especially man. You want a nice fast lens 2.8. Nice fast lens fast enough for the most part. But this will get us close to the action. When a priest says don't come past this line, it literally goes to this address land for Don't come Pass that line. These lenses a great for that s 03 of those on 16 to 35 2.8. It's just a nice zoom range to have for really wide shots. Okay, we'll use that occasionally. For time lapse will use it in tight spots if we need to get like a ceremony establishes and things like that. So if I was gonna choose three of these lenses the 50 millimeter, one point to the 1 35 millimeter 2.0, and the 16 to 35 those would be. My choice is, unfortunately, that's gonna cost you a lot of money. You know, some people ask me, What about Sigma lenses? What about Tamron lenses? I mean, if you're happy with the image quality and you think it's acceptable for what you're offering, go for it. I just tend. I don't know. I'm or I like. I like the look of a good. There's a huge difference in the inequality, in my opinion, and I like to try to stick to that as much as possible. So any questions about Lindsay's yet John, I'm kind of surprised by your 1 35 Lynn choice. I thought she would have gone with the 200. So, are you shooting the ceremony with 1 35? Basically, yeah, if I had to have these lenses because the 1 35 we'll put me close enough to the action where it'll still look good on camera. All right, so I can shoot overheads and I can get that side angle or if it's a lot of ceremonies I encounter or like on site. So they're sort of like I have freedom to get close anyway. And the 1 35 allowed me to get really intimate without having to be right up on him. And I don't need to be way back, either. I could be more flexible. So if I'm on a mono pod with 1 35 in the groomsmen, besides, he's got take a step back like this and be in my way. If I'm over there with 7200 I'm kind of screwed. If I'm here with 1 35 I can just readjust. So, yeah, it's a little bit more versatile than a 72 100 it's sharper and it's faster. So that puts me that puts in a different category for me. Questions. Yes, yes, I see. Um, chronic would like to know. Do you ever use those I cf lenses? I love Zeiss lenses. I just my wife let me buy because if she's gonna violence for herself is gonna be the cannon 202 0 And that trumps my Zeiss choice. Now I really like this Ice 102 0 it's a phenomenal lens. And I rented it before. It's absolutely fantastic. Another great point that you can rent lenses that Zach. And you know, I do that often. You know, we have high end weddings that come up, and I'm like, you know, I really wanna have this for rented. A cost me the rent the lens for the weekend. Cost me 79 bucks. Yeah, okay. No problem. What about from Carlos Vela's? Have you ever tried using old all manual Nike or lenses? No, I haven't. Actually. One of my shooters actually has a couple. I think she has an 80 on old 85 to. Oh, and a couple of the old Like I've heard good things. I just haven't used it myself. All right, Thank you. Okay. You're welcome. So let's get into a little bit of lens choices. And this kind of goes right along the lines of what John was talking about different lenses gonna create different moods and evoke different emotions. Okay, being in somebody's face with a 24 millimeter lens on is going to be a whole different field and shooting across, you know. Ah, large distance without with a telephoto lens. OK, I really take this into account when I'm filming. Everywhere we go, every situation we walk into, we assess that second we walk in. What am I going to use? What? What kind of emotion of my evoking here? Is the ceremony going to be an emotional ceremony, or is it gonna be a lot of moving around? All right, You ever shoot a ceremony where it's kind of like, um, they do all these? All right. So, like, instead of the purchased abroad and I'm standing there giving their vows, they go over here, they do a little something with, like, some fish or something, that they come over here to do something else with sand. And there's gonna be all this motion is giving all this moving around. I'm going to go with a wider lens choice. I'm gonna go with 50 millimeter and 85 millimeter lens. I'm not gonna try to follow that action with this. All right, So we again when we were talking earlier about trying to gather as much information as possible to know what situation you're gonna be in. That's why we collect that information, cause it's really gonna it's gonna help me decide what lenses I'm going to use. So I really want to take that into account. Let's compression is gonna affect the look of your shot as well. So if I take this lens and I zoom in all the way into 200 millimeters, okay and I shoot you from here, it's gonna pull the background closer to you. You're still gonna be background. Depending on your actress, they're gonna be out of focus. But this is really going to create a whole different emotion. It's gonna look more beautiful and grand and epic, and it's gonna look more full and rich and deep, whereas, you know, you take a 35 millimeter lens and I walk up to you and I do the same framing. So you're the same size the backgrounds going to be like, Okay, it's right behind. And it's just all there. Okay, I see everything. So it's a different look, different effects. So think about that a lot when you're when you're deciding what lens choices you're gonna use now. Granted, I know some people only have a certain finite amount of lenses, so you don't really have much choice. But when you're buying your lenses or renting lenses, try to keep that into account. Just think about what kind of a mood do you want to create, and I'll show you a video a little bit. That's basically gonna kind of show you different. Show you different examples of that. So very your lenses up. You don't want toe. Have a 16 to 35 then go out and buy a 35 millimeter lens. Doesn't make any sense, right? Go by the 50. Go by the 85. Try to cover that range of focal length as much you can. So again, we talked about the great starting lenses 51 35 16 to 35. Let's talk about audio any questions about lenses? Because I want to move on again. This is a whole thing about moving fast and getting through this stuff. Does anybody have any questions about lenses? Okay, Yeah. Okay, so we know for the 1.2, but if you can only afford 51.2 What if you could only afford a 51 4? I use the 51 4 when I first started out and I was that, would you say that the image quality is drastically If let's say then you have the 51. and you know you have the budget to go to the 1.2. Is it gonna make that much of a of a different like is gonna be like, Wow, why have I been shooting with one point for, you know, this long when I should be with 12 To me, It does okay to May. When I look at the 12 versus the 14 it's night and day. Okay, it's night and day definitely makes a big. That's why there's so much more expensive. There's a huge, huge difference there. And the other questions about lenses. Anybody in the room sending, Of course we do. But I know we have time to get one question. One question. Okay, um, let's see Williams fight. I want to know if you use and d filters. You don't have tangent to build a neutral density filter. They're great for knocking down F stops in really bright environments. So if you're out in the middle of a field shooting ceremony, and you want to have nice step the field. But you don't want to be at 4000 under shutter. Andi filters will help Knock that down. The problem with Andy filters is the guy used good ones, cause bad ones will just give you a crappy image. Bad ones will actually affect your focus, making much more difficult to focus. So I suggest you do it. And the filter go with a really high quality one. I've used them before for time lapse, because with time lapse, you want to be able to drag your shutter. And the only way to get down into those lower shutter ranges toe knocked down I s O stops, you know. So, yes, I do use them. Yes. Okay. Um, Logan, Brock Worth would like to know. Um, I know that crop sensors will affect a lens field of view and make it seem like a longer focal length, but does the crop since they also affect the compression. Yeah, it does. It does slightly. In my opinion, you will see a little bit mawr. The lens looks a little bit more dramatic on a crop sensor to May when you put it on in depending on the camera and the lens that you're using, I think that will vary. But I have noticed the slight, you know, And that's just my opinion. You know, everybody can look at things a little differently. Um, you know, But that's Yeah, I don't I rarely use the crop sensor. Just as a note, you say Sorry. One more cook Esquire for someone starting out. Is it better to get the idea to get a very high quality camera and have lens options or medium quality camera and one lens? Good answer. All right, let's seriously. Seriously, Honestly, I will adjust that question. Optics objects are more important than sensor. Okay, High quality since is a high quality sensor, and it's gonna look good. But if you use a cheap piece of crap lens on a bad quality or low quality sensor, you just magnifying your problem. Using high quality glass on a less expensive sensors. Always way to go because it really is about optics about the clarity of that glass. But the elements of the glass it might be, Yeah, So if you had an option to get 50 millimeter 1.2. Would you get that on Lee? Or if you can get the medium range one for the 85 35 24 which all three medium range costs about the same as the 50 millimeter 1.2. Which one would you pick that? 50. And I'll tell you why. I like the 85 is a beautiful lens. OK, but if I'm gonna brides prep and it's tight in there and I'm using 85 don't have much room to really move around. I like that nice, shallow depth of field during these parts of the day. 85 is gonna give me really tight shots, and tight shots are OK, but you want to vary your shots you don't want have all tight shots. You want to mix it up. The 50 a matter of a couple steps will make a big difference. With a 50 you know, I could go across the room and get a wide shot with a 50 then I can go three feet away from my Brian. Have a nice medium, and I didn't have to change lenses. It's really much more versatile. Where's in 85 you could be back against the wall, and you're struggling to get a wide shot, you know? Just like the range. I like the look of it. And this is on a full frame sensor. All my examples air coming from working with full frame sensors. Okay, audio. I want to get into this guy's. You can not afford to be cheap with audio. All right, You cannot. How many people have been burned by audio? Honesty hands, really. One person has been burned by audio. Really? You guys are all good with all that knows it. Audio. The audio is is you know how we have photo conventions. There's entire conventions for audio alone. Okay. And here we are as image artists trying to incorporate audio into our workflow. All right, It isn't a beast in itself. It's really tricky in all aspects. It is so important to use high quality equipment. Number one, you're not going to get good audio from cheap equipment. It is not. You might get acceptable audio. You might get audio. That's you're not gonna get Ooh, that sounds good from a RadioShack. Mike Not gonna happen. Um, I have some cardinal rules of audio number one Back yourself up. Back yourself up. Don't ever trust one Mike on the groom to get your ceremony vows. It'll burn you. It'll burn it If you haven't been burned yet. Give it time. You'll get burned. It's burned me so many times when I was like I don't need to spend money on audio I went out and I bought You know, the Sennheiser these things standards Anheuser tw series wireless. Yeah, that's good. Put one of those on the groom be finding no problem. Police radio nearby Crap. I don't have vows, you know. Don't put yourself in that situation. First of all, I don't even use wireless mikes. We'll get into that minute, but you gotta back yourself up. I put two mikes on the groom at all times. He's the most important man I need what he says. And if you standing close enough to the priest, it's good backup for that too. Well, Gettinto, you know how we do that in a minute, But nothing will ruin your film like bad audio. Okay, we're producing films, guys. We're not making music videos. If you're making a music video and you lay down some music and you got somebody lip sinking in music. You could make it work without without dialogue. But if you want to tell a story and you really want to use dialogue, your audio has to be good and it will ruin your film. You don't really have a story without dialogue, in my opinion, I mean, you can tell a story. Visually, we just pictures of music. It's not gonna last for 20 minutes and be interesting. In my opinion, Um, anybody see the artist, the silent movie, the artist, and we see that that's a great example of how that can work. But that's sort of meant to be like that for a reason. I don't think your bride's expecting to not hear her vows. Okay, so you know, definitely you want to make sure your audio is good, so I would spend my money on audio before I spend it on video. I really would. I would spend a lot more more effort buying good quality audio. So if I was, if I were like, let's say have let's see, I have D mark twos or to seventies let's go cheap to seventies or to sixties or to 60 G's, and I've got a couple good lenses. Let's say I had maybe 51 4 Maybe a couple 51 4 is in 1 35 right? Got along and I got, you know, medium toe wide range. I'm happy with my image quality of that point. OK, I can work with that. It's not ideal, but I can work with it. It's fine. I'm gonna go out and spend money on recorders. I'm going to spend money on high quality recorders and high quality microphones, because when the bride's watching that video back, she's not gonna go. Oh, that shots a little sharp, Sharper than the other one she's gonna hear. Why is my groom sound like crap? But the sound? I can hear what he's saying. It sounds and she doesn't know why. Because she's not a techie. She's not like she doesn't know what makes good audio. She doesn't know. It doesn't sound right. Something's wrong, so you want to. But you want to really get past that as much again. So spend money on audio before you do anything else. This is what I use are you can't really afford to be cheap, and I'm gonna be adamant about this. I'm sorry, but you can't go out and spend 100 bucks on a recorder at Staples and expect to get good audio out of it. All right, The role. Innaro five. We have three of these. I love these bad boys. Okay, there, about bucks each. All right. Really nice quality recorder. Okay, they're smaller. Compact. It's the break in the pocket I use, and I think that's well, let me go through the recorders first. We'll talk about Mike's, the task and, er 07 is a less expensive option. These air about $149 each. Pretty good quality. They hold up well next to the rolling. And I feel tested a ton of these. Man I've rented and bought a bunch of different recorders and test them all out in the field for bucks vs 300 bucks. The task and d r. 07 Mark two held up really well with the more expensive role in our 05 Okay. And this is having, you know, Wired Mike's plugged into him, but the task is a little bit bigger but easily still could slip into a pocket they make. It's got a threaded hole in the back. They make little belt clip, seek unscrewing, seeking stickum on people forget those Are those are those are the two portable recorders that I use. Okay, then I also use the Roland are 44 field mixer for channel field mixer. This is what I use the tap into DJs and bands and church sound systems. Okay, this is a really nice piece of equipment. Retails about 1000 bucks. But the pre amps on this air really high quality, were using high quality XLR cables, which are basically three pin audio cables toe wired directly into sound boards. Okay, on capture really, really nice audio with that, and we'll get into how I implement all these devices later. But I just wanted to get kind of introduced tea to the tools that I use here, um, and give you some suggestions. Wireless micro from some really good wireless mikes. The countrymen be to lob earlier microphones about 500 bucks each. Really high quality, really expensive. Very sensitive. This is the type of microphones about this big wire livelier microphone similar to the one I'm wearing now, very sensitive. So if you're in a loud environment, it's really gonna pick up a lot of what's around you almost like lens choices. Picking microphones is really similar to lynch choices because different rooms we're gonna have different sounds. This'll room has a little bit of an echo to it, all right? And I was talking to the audio guys. He was making me up before and he's saying, Yeah, we like the tram tr 50 which is another microphone that I use and I'm wearing one right now. So those of you who are watching at home can actually hear the quality of this Mike. All right, Hopefully the quality is good. I'm sure it is. These guys were, but the tram tr 50. We use these primarily there about 300 bucks each. Really good microphone for dialogue. It's got a nice polar pattern here. Polar pattern basically means the area of which the microphone can pick up sound. Onda, We use these for the groom we used to put him on the priest of the officiant tram tr 50. If I were to go with any of these, I'd go with the tramp tr 50 in the task and er 07 Mark two. Why are this microphone kid I do own the Sennheiser E w series is actually what I'm wearing right now. It's a little wireless Pack the transmitter second transmitter pack, and they're good quality when they work. Meaning if you're in downtown Manhattan trying to shoot and capture audio with those gonna run into problems because the frequency band there is just overflowing with police radios and all kinds of other interference. Eso I haven't had much luck using wireless systems. I just think they're not. Is reliable is having a wired recorder in a pocket that's gonna be a lot more trustworthy. Always use the hold switch on these guys. The hold switch so the groom doesn't go tapping around and turn off your recorder, right? We'll get into the operation of those later to All right, so other Mike's that I use. This is a sure 58 handheld microphone. I didn't do that, Rob. I didn't do that because it's bad. I did that because these things they're indestructible. These things will hold up. I've had this one since, like two or three years ago. And let me tell you, this gets dropped on everybody. It's just the way we're breaking things down. And just so you know, so don't worry about it. These things, they're pretty durable. Only 100 bucks to and what we use these mikes for is we will plug these into the R 44 at receptions. And when the deejay has his speakers, we put it up against the speaker. Okay? It's a backup. So not only are we tapping into the system, but we're putting up with Mike next speaker, and then we have another Mike. Sure. 57. I'm not gonna drop this because it's not mine. Um, and this one goes up against the other speaker. OK, Two different Mike's same maker, two different sounds. Okay. Why do we do this? I want variety. I want choices. I don't know how good the sound coming out of the deejay speakers is gonna be. So I want to put different Mike's up to capture different tones, and that's gonna help me decide. And we'll get way, show you tomorrow how we make up for the reception. I'll show you exactly how to set those up. We have him up on Mike Sands XLR cable into the role in our 44. OK, guys, I do have an audio technician that comes with me on the jobs, but this is not something that I don't always have to. Sometimes this is not in the budget or sometimes he's not available. I'd like to use the same guys over and over again. I set this up by myself sometimes, too. So it's no, I'm not going to show you something that you can't really do by yourself. That's pretty key. Having the audio technician is because he can monitor it as it's happening, which is really nice. All right, so that will give you an idea of what I use if I was gonna buy anything. Minimalist approach task AM Diarra seven Mark two Tram tr Microphone Hope Sorry. Past cam Tramp. So you remember, um, a good quality stuff at a reasonable price, But don't don't skip on audio. Has the audio industry changed that much in the past year that you've completely abandoned the zoom H in H one n one n which one? Yeah. After doing some testing in the field, the time I was teaching that using the zoom that So we're using at the time. I'm not gonna advocate something I don't use when they're totally honest with you. Did you switch? I switched. Yes. I'm now using the of the Rolling r 05 We have three of these in two of the task and, er 07 Martos. Unlike when did you switch? Um, beginning of the season. I just find that after testing several models, I found that these were really nice, high quality and they hold up really nicely. They served us very well this year. I had very few hiccups with ease, very few problems with him. So, uh, audio is not perfect. Man. Audio is tough and it's still tricky. At 15 years, we still battle with getting quality audio. It's tough. I can't tell you how many times we've miked up a groom for a first look. And after the first were like, Why the hell didn't record? It's not like we didn't press the button. It's just like something went wrong and it just didn't work. It's gremlins that kind of get into the system, you know? So just back yourself up I mean, in addition to making the groom twice were also tapped into the church sound system where we find a speaker in the church and old Catholic churches. But it's like a speaker box somewhere, like, 50 feet up. We'll find a way to get a mic up there, you know, and plug it and running a lion here, just in case the officiant smite goes down. I've got something. You know, backing yourself up is key. All right, questions about devices before we move on. Yes. Yes. Way have about 56 minutes left. Break. So how much do you still have? A lot. I have quite a bit, but I'm gonna also through it. All right, let's have a couple of OK, This one isn't like gear specific, but they want to know. How do you approach the bride and groom to tell them that you didn't get the vows? And how do you recover? That sucks. Yeah. Um wow. What we what we've tended to do in the past when that happens, is we just really go. We take a different approach in the at it, um, case in point. And I'm gonna really break down the fourth wall here. We had a wedding this past summer where our audio technician might have the groom twice he put a mic on the officiant. We had a shock on Mike pointed just in the general direction of the room of the thing because there were no speakers was no sound system. Okay, we did everything we could to get audio. And afterwards he comes up to me, He goes, I understand if you want to fire me And I said why he goes, I forgot to turn them all on, and I was like, Oh, crap, we're doing a full same day at it tonight and we don't have any ceremony Audio. I was like, You know that feeling. We get really bad news and your head is just sort of like, Oh, that was me. And I was like, What am I going to do? So within a matter and I was getting ready to go sit down and do the same day edit, it was like OK, gotta figure something. Got to do something. While in the morning I had worked, the best man got him to go over a speech, I knew I wouldn't have enough time to pull the actual speeches from the reception and mixed those in. We basically just focused on the preps we did a lot of like in the best man going over the speech and we mix in some beauty shots and we took a different approach and we know what we never told the bride and we delivered the same. We did the same day out of the night. We screened it. She loved it. Everybody loved it after the wedding. We're in the process of editing the film now. And I just told the editor just do the best you can without it. If she says something after the fact, I'll explain what happened. But I'm gonna try to please her. I'm gonna try to do everything I can to make that to make it work. But guys, nobody's immune to it. It happens, you know. And that's why it's so important to do whatever you can to try to back yourself up looking one war from Agnes Keep in Japan. Did you say a few years? Any boom mikes we use boom mic? See? As a matter of fact, the film we're gonna show you tomorrow We? The night before the wedding they did a rehearsal on this beautiful veranda, this beautiful mansion in the mountains. It's a gorgeous setting, but we knew because we had talked to the bride and we planned ahead that eight people were gonna get up. Give toasts, Let's see. 123 I don't have a mix. So what we're gonna dio So if we have a boom pole, you know, we have the r 44. This has a travel case slipping on your side and XLR cable. And we rented a really high quality shock on Mike. I rented the Sennheiser 80 60 which is gorgeous. When you hear this audio tomorrow, you'll see what I mean. But a shocking mike a boom mike, This is what they're talking about. Okay, this is a hypercar toyed road and TG to It's OK, It's not I mean, these things, the more expensive you go, the better the quality of the audio, Really. I mean, it's like these things could get really up there in price, but that's the only time will really use them is if we're doing a specialized situation, I'll never use them on the wedding day. I'll never walk around with a poll on the wedding day like that's just way too obtrusive. Okay, good. All right, let's move on. Let's kind of blast through this on camera audio. We talked about this. Get an external microphone, the road video Mike Pro to our the Road Video, My Pro Rather and Sennheiser M K 400. That's for sinking an ambient sound. We already covered that good. This is who gets might. The groom gets to Mike's. He gets to roll Innaro fives. The officiant gets Innaro five as well. The church pulpit. Or, if there's a podium, gets a task and 07 mark to all of these will have high quality level ear. Mike's on them. Okay, Very important to use a high quality mike, and we'll get into a wide in a little bit. Church sound system or a p A system matter at a ceremony. Roland are 44. That's the four channel mixer we're gonna tap right in to the band at the reception as well. Okay, if I feel the need if I'm not happy, if you ever have this situation, you walk into a reception. How many of you happened to sound systems? Do you guys do that? Okay. Have you ever had this happen where you walk into the reception and all you hear Is this coming out of the speakers zoo and you know, Well, crap I can't, Mike, Speaker and I cant plugging, so I'm just gonna hear that in my entire mix. Dude, I just know Right then and there I gotta Mike the best man maid of honor. So I'll go find out how many people were given speeches. Okay, well, let's look on the questionnaire. No, we got three speeches. Well, we got three mikes. Let's do it. Let's might come up and we'll go. We'll go find him in cocktail hour. Well, might come up. Do what you gotta do to get audio. Be a certain Remember I told you before, don't sit back and go well, but I do. Do it. Be assertive. Get out there and do what you have to do. The bride will. Thank you later. Okay? I'm not saying go out there and really take over the wedding day, but by being a little bit assertive and maybe just asking the best man Hey, man, do you mind wearing a mic so we can hear your speech afterwards? Sometimes I'll pull him into the room, but like you hear the sound, that's what is going to sound like. So I really want to make up and at least I mean, you're still gonna hear the buzz. But it's not gonna be as bad as plugging indirectly. So other audio excesses accessories you're gonna need. XLR cables get high quality. One's a good one running about 60 to 100 bucks each for 25 foot cable microphone signal splitter. Man, these things are amazing. bucks, right? And if I show up onto a site where there's gonna be a ceremony and I look up and there's the HEPA, it's a Jewish ceremony. It's unintended, like in a park, right? Or in the back of a banquet hall. And there's a mike. There's a RadioShack Mike, I go. Oh, no, no. As I know, the sound quality is going bad. I'll take that piece of crap Mike down. Apply unplugging from their system. I'll take my trusty sure 58. Ah, plug in an XLR cable. I'll rewind that down down the pole. Ah, plug one uphold the direct signal from the mic into my splitter, and I'll run another line out to my board and one out to the P A system. So I've got three of these XLR cables. What I'm doing is I'm completely bypassing his crappy sound system. And I'm taking my higher quality Mike putting it in its place. And this is what they're gonna talk directly into this, and it's gonna go directly into my are 44 it's gonna sound amazing. It's gonna send him 35 bucks, get a radio signal splitter. It's always XLR signal splitter. Best 35 bucks ever. We used it probably eight or 10 times. Last year was great, and the audio is crystal clear. Really nice to have. So I mean, that's a small expenditure that will really save you a lot of hassle hum remover boxes. They make similar boxes like this that will remove that hum. Um, they're great, too, if you can get him to actually work on getting to do what they're supposed to do. That's something else you could probably pick up. Make sure you have plenty of cables. Are CIA cables, quarter inch cables and headphone cables. These things go all the time. This from getting stuffed into bags and it'll burn you one day. You'll just go to plug it in and go. Oh, crap. Don't work. So have backups. Back yourself up. Good para. How quality headphones don't rely on like the earbuds that came with your IPhone. Okay, it's not gonna give you a really accurate sound for dialogue. Get yourself a nice quality pair of headphones Amoss, studio monitor headphones and use those to monitor the quality. But what we do is before you put a mic on somebody, you know, we'll plug in, are the microphone and we'll plug in headphones and we'll listen to it. Make sure this thing's on the fritz. Make sure there's no cracks, Pops. Make sure it's operating correctly. Then we'll put it on the group. OK, we'll do that for each of our devices. Boom chest. Check it. Make sure it's good. Check, Check. Check 12 throwing on. And then we know we're pretty confident after the ceremony. Better audio is good. Okay, this is this is the audio pipeline. This is really important. This is the diagram I always picture in my head when I'm making things up. Okay. What do you have? Your four stages of audio. You have the source, the line, the microphone and the destination. The recorder. Okay, so your source is the person. Okay. This is actually gonna be speaking right from there. We take the sound from that person's mouth over a line over a cable or over, you know, some something, a wireless, something. That's your line. You want to make sure that your line is good quality. Okay, If you have a hiccup anywhere along with this pipeline, you're gonna have bad audio. So there's your line, and the next thing is your microphone. So in addition to your line, you know, whatever cable you're using, the microphone itself is also a piece of the pipeline. So the line in the my could be the same thing. The wire in the mic. OK, that could be all one thing. But then you have the digital recorder, which is the r 44 or the in my case, the role in our 05 If any one of these, If anything happens in between this, I've got an audio problem, right? So I want to make sure I'm using high quality stuff, right? The source again, the buzzy speakers. I want to bypass it. Go right to the maid of honor of the best man line. I'm using high quality cables. I didn't go out and buy the cheapest ones. Like find quality cables. Microphones spend money on Mike's and spend money on recorders. If you can do that chant, you're increasing your chances of capturing clean audio.