Audio Overview Part 2


Keep it Simple: Video for Photographers


Lesson Info

Audio Overview Part 2

if you have a camera store in your area and if somebody you trust them and good advisors there you can go and say this is what I'm shooting what do you recommend but again that's all personal preference that's going to be it's like picking up a cameron saying hey do I get a night gunnar can't canon it's the person that you speak to is going to give you their specific taste in whatever they're using I've had people ask me how do I shoot a concert it's really gonna depend on what you're shooting the best wayto for us the best way to record is literally to get to the deejay or whoever's playing the mixer and feeding off of their specific unit because you don't want to hear the audience you know unless that's what you're looking for artistically you just wanna hear the audience cheering and you want to hear the music in the background whatever you want to record directly from the source of the most close to the source is possible on dh we'll discuss more or less the different variations of...

of sound I'm going to get into road was nice enough to let us borrow their audio tracks so you guys can listen to the differences between the same setting in the same environment with different microphone cool so we'll go through indoor and outdoor interviews so it's same setting that we're in now versus like outside I'm gonna go the first setting is gonna be indoor built in with the built in camera with this so and not just for the grandpa interview we used the last mike and then a shot and so it's just those two things so again this is personal preference but I want you guys to listen for is what seems right to you no one's there's I'm not making any judgments on what's right right now what's right to you guys okay so I'm here backstage with johnny wishbone from the snow droppers johnny you guys have got a pretty unique sound how did the bank come about and where do you draw your influences from what do you guys hear that picking up that we very quickly very very echoing okay I'm gonna move to the next uh to the next piece which is the lovely ears so I'm here backstage with johnny wishbone from the snow droppers johnny you guys have got a pretty unique sound how did the band come about and where do you draw your influences from so those loves or what we're using now what you guys are hearing on air it's nice clean crisp clear audio with without ambient noise it's only here so I don't hear anything in the background next so I'm here backstage with johnny wishbone from the snow droppers johnny you guys have got a pretty unique sound how did the bank come about and where do you draw your influences from they're still little echo in the background it feels like an open space it feels like it's a little echo way so it looks like they're shooting an environment like this it's I'm getting essentially the person's getting recorded with a shotgun mic and they're picking up all the ambient noises in the background of thie echoing so I'm speaking and you're hearing basically that reverb off of the walls back into the microphone itself and doing if anson think so here's a couple things obviously the first one the built in she's getting everything when you have a lab it doesn't reach very far okay it's not it's not really intended to capture room so right here if it's on the person's lapel or on the person shirt it's really only going to capture my voice so it really only has that sphere of influence why which is why you won't get a lot of that echo versus if you're pointing a shotgun at somebody it's also pointing past them so that's what you're trying to actually get and I talk about this in a minute as close to the source is possible and we'll discuss actually we're going to break down that shotgun on me and stuff a little later but for right now just why we understand the topic of perfect recording the next one's gonna be the reporter which is that hands on what you see the news reporters use I'm gonna go there so I'm here backstage with johnny wishbone from the snow droppers johnny you guys have got a pretty unique sound how did the bank come about and where do you draw your influences from it's an environment like that you can still hear some of the ambient noise in the background which makes it more realistic so the news reporters listening like if I was a news report and windy day they don't want to hear silence they want to hear some of the pick up in the background so they'll use something like this to get some of the ambient noises if you listen to the forthem there's no right or wrong it's your personal taste on what sounds appropriate for the setting found if you uh two seconds if you find an audio engineer who's kind of wanting to set the mood in a certain situation they'd want to hear some of the ambient noises in the background they'd want to hear a crisp clear voice so you can actually in post mix to sit a separate audio clips so if I hear a lot of things with ambient noises I can sit then record let's say with my shotgun mike and a different microphone merged the two together and I have a little bit of ambient noise and then I have very crisp clear sound so those options that you have and that's what we did with the grandfather video we shot thea what to go to grandfather with a love likes right and then you still have the ambien noises in the background from the kids using the same microphone and it's just linking together because we wanted to hear some things in the background we don't want to just hear grandpa we wanted to hear grandpa and baby cooing so we took two different tracks laid him over each other and that's what you heard um and then I'm gonna show you guys the differences between indoor and outdoor okay so outdoors so I'm here backstage with johnny wishbone from the snow droppers johnny you guys have got a pretty unique sound how did the bank come about that you ensure your influences from that's ah that's sorry that's the indoor video mike I'm trying to read the next screen that's the indoor video mike and if you heard there's a lot of reverb yeah it's actually that's the one that just assure your camera we'll go out there now sorry about that the building's still here on behalf of road tv he were are outside the band got theater sydney australia we're about to go backstage and make this night droppers have a chat and here an exclusive performance so let's go that's what you get out of this it's the mostly in my opinion about that my opinion is the most terrible sound that you'll ever hear if you're trying to record someone your clients aren't gonna be happy if that's the final product that you give them you know they're just going to say I can't hear anything I'm not very clear I can hear everything in the background it's just unacceptable in that certain a certain capacity so hey right johnston here on behalf of road tv here we are outside the vanguard theater sydney australia we're about to go backstage and make the snow droppers have a chat and here an exclusive performance so let's go make the guys apologize that's the love letters so it's nice crisp clear audio you don't hear much in the background if you were again an audio engineer you can mix us to sound more less appropriate to your taste which is what people do in movies they want to hear that excuse me unlike hollywood they want to hear the ambient noises don't want to just hear somebody's voice yes for music videos how do you set those up sink them what would you want to use to record doesn't depend on the band sound you hear is what people have done they've taken something like the taschen and the easiest way if you want to pick up atmospheric als because this one's omni directional is sit right there right intendant right in the middle of the table if you have a little group of people if they're a band that's been to an engineering booth they have the song say if you were I don't know if you were working with a really reputable band by all means and you just shooting their music video you khun sink their audio to your specifically just lay there their tracks if I'm shooting I don't want to say names we'll just top top forty rockstar whatever isn't take their track laid down on my premier track and edit the video in I can record them lip sinking toe what I'm speaking about and sink that to the audio itself so you can do something like plural eyes to mix it together something similar so I've got a couple music videos this year and we aren't in any way shape or form trying to use the audio that they're producing for that we've got something the idea videos make it believable so what we'll do is we'll have like I'm gonna say boom box but box playing their music and so they're singing and performing with it and then we cut out the audio hundred percent and we're just laying down their truck and that this is I mean nowadays everybody can produce pretty good sounding quality music without having a big record deal so that uh the lad like that to music videos I did recently that's what we did we don't even use any of the idea we'd captured there so if your if your questions elaborate is how do I make the audio sound good enough to play a music video and I'm doing it from scratch that's when you really want to hire an audio engineer to help you produce that specific set you'd really want your specific client to go out and spend the money teo design music that's specific to it like a cd quality or itunes quality piece on been sinking into making sure everything are perfect you're not going to get the same quality with ease because you're gonna have to start uh sound deadening walls and you want to make sure that it's just a lot more work and that's like holding audio engineers job next slide is gonna be the outdoor gt two which is sorry this here uh we'll play that hey ray johnston here on behalf of road tv here we are outside the vanguard theater sydney australia we're about to go backstage and make the snow droppers have a chat and here an exclusive performance so let's go make the guys I can hear whining in the background I can hear cars moving in the background there's like that metallic buzzing in the background for whatever reason it's what's happening is they're using this specific like it's taking information or recording audio at this person that they're recording and it's also recording everything in the background so it's completely directional it's going totally passed the person that you want to go so if you're a person that's interviewing people on set and on location and you'll see this in a lot of trade shows so like if you go to any footage of photographic trade shows you'll see guys with just this on there on their on their camera recording and then you see the videos on youtube and video and they don't have the best quality available so you'll notice the guys who do have really good quality audio they'll have like lab mikes that they'll pre rig someone although have microphones toupee rick someone because this isn't going to be the best solution for you this is really for reference audio if you're trying to shoot something that's high quality I'll go to the next one which is the outdoor with a reporter so like hey ray johnston here on behalf of road tv here we are outside the vanguard theater sydney australia we're about to go backstage and make the snow droppers have a chat and here an exclusive performance so let's go meet the guys so that's what this that's literally just her recording with us which it makes it has some atmospherics with it again I can hear some of the things in the background but it's not overpowering her and the last one's gonna be the video make which is that short little shotgun reference mike which is what the seas for on camera audio hey ray johnston here on behalf of road tv here we are outside the vanguard theater sydney australia we're about to go backstage and make the snow droppers have a chat and here an exclusive performance so let's go meet the guys so if you listen to all those different tracks you'll probably have your personal preference you'll probably look at the person next to you and say which one did you think is the best one and you guys probably have two preferring opinions it's really up to you and I go back into creativity for audio there's no explicit way to do audio it's really going toe be up to taste but at the same token there's people with degrees trying design sets so it sounds like you're actually there that's theirjob there's new movies in the movie theater where they're making folly which is recording fix out so if I'm playing a horse walking by their recorder reference track so the record with a video of the course walking by and then somebody will sit there with like tools in their hands and go take teo and record the whole thing over because it sounds cleaner they'll do it in an environment where it sounds realistic they're not trying to impede on the actor so you can do it in post that's not a problem it's just it's in more intense in regards to that the work process it's just longer that way with showing you the differences in quality of audio I'm going teo discuss which one's the price points and things like that that you guys want to use we'll go over shotgun mikes the shotgun mikes here they're very small cylinders like we discuss for anti vibration you khun keep one of these shock mounts on there so that way as it shakes its not hitting anything metal there's little rubber bands inside there yes I just have a like stories you can all relate uh college project I was learning audio and I found this really interesting guy that I interviewed was studying abroad in london and so I had this and I was interviewing the guys it was a photo project your photograph and record him and I was nervous about the audio so the whole time I was holding onto the cord going like this you can't hear anything you can't hear anything because it was nervous and I didn't know how to monitor the levels and I didn't have headphones so I got nothing and that was a major project I spent photographing that guy forever so I got scared which made me not like just think it through okay so that's doesn't they will mention as well but and then just quit this is what I was saying these chords are professional grade microloans again you're gonna have people say well this once but in this one this is better than this one you have the mini jack which is what your standards like iphone headphones would like the headphones were going and then you have the xlr inputs this has more points of uh of contact in regards to audio suit auto engineers were generally use the xlr inputs that's why they they swear by that it is always confused me but basically they say like mini jack is a little one and then excellent it was very confusing to me um but there's a lot of chords like if you ever buy a set up and like wait this won't fit into what I bought there's a deference to see you know that there's um so let's say right now way we're recording with this's a transmitter from the lovelier okay so this excuse me there's a receiver this is the transmitter okay so this is what I'm wearing at the present moment this is what receives it this is what goes through a recorder and records all the information what you can do is theoretically speaking I want to take this specific unit record into a uh what's called a recorder this is the only solution that I have stock basically that comes outside the box you also have other options which are used one of these bush twins transformed that many jack into the xlr import that's just another option for you and everything that's always been science overwhelmed me like I don't know what all the little adapters are so just say no so those go into so we'll discuss recorders in a bit but those were going to your quarter and I have more more points for resistance percent with the with the shotgun mikes and just quickly I'm not tryingto teach you audio engineering and two seconds shotgun mic is supposed before that somebody's chest because the second put its amount you can hear all the puffs of somebody speaking so you want to make sure that you're directing everything to the person's chest so you can hear everything that's going on this is what you'll see in a lot of sets you'll see something completely overhead and then you see this specific and it's actually a lot longer than this let me extend this out this is a kit that I put together to help us out without having to have a bunch of help on set I don't want to have somebody probably seen audio engineers with like boom poles on camera sets and stuff like that I don't have time tio or you know I don't if I don't have the budget to pay somebody to have to be on set I can use if I don't have the budget to pay an audio engineer to be on set and this is the only a reference I have it's just let me actually just take this off the unit self fellatio I can easily just set this up myself and not have to deal with paying someone so this is going to be my reference audio I am k tech believe it's called um makes ah actual pole that you can connect directly to your shotgun microphone without having to have a long extended cable dangling and kind of flapping in the wind so once this is plugged in I'm so sorry just like that in there once this is plugged in I can actually extend this out the same way that you would a boom pole defending the modifiers that I want to use for it we can set the modifiers everyone used for and it connects end longer than this understanding a sick it all the way but I used this is my reference audio I have this above my subjects that way when I'm using love layers if I wanted to mix the two I hear ambient noise so if I'm in an environment where it allows me to records and the ambient noise overlay that over my tracks that doesn't sound so hollow I could do that I generally wouldn't use the engine t two here in the studio environment because you're going to get like you heard before all that reverb but I want to hear folly if I'm on set on location I want to hear all those ambient noises because it doesn't feel like it the person was on a lot earlier that's just how I do my my audio engineering per se the cool thing about this specific boom pole is it goes right to recorder you could put a just a clamp manfro makes a little clamp that you can put on a c stand and your recorder has a little quarter twenty screw in the back so everything is fat you don't need to put it on top of a table everything's it's a self contained unit I don't have to deal with this anymore the gt two's now taking battery power from the record itself the recorded takes double a batteries or you can charge it depending on what you decide to do but this is the most viable alternative toe having someone sitting there with a hand like she was doing whatever reason they screw up and they you know screw with the little sport in the back I don't wantto have to deal with that later on so this is my my alternative and next let's say discuss that so the engine t too just as uh as a tip it's generally handheld from eighteen to thirty six inches from the talent so I don't want to keep it further than that because then it kind of loses its purpose and they hear and what I need to hear so I would general have this if you wanna look at our lovely host I would have one right above their head about three feet at max I want as close as possible out of frame so next thing I mean directional microphones which is like the uh what's called thea actual hand held mike it's uh this has my college email address on it because this is what I had from college just noticing that uh it's that old yes no way we're going to tell you the specific microphones that we recommend later we have a gear list but typically road and sennheiser are like the program's just so you know there are less expensive brands is something that you might wantto test that yourself or do research for but if you want the best quality I mean I don't know anyone who recommends pra much anything other than a sennheiser labs the's labs are like grand just looking individual units like eight hundred bucks each like just used to so if you see the two of us and you're doing an interview with two people that six hundred bucks that's mike between us so it's expensive you have kind of that's something that alison dallas says six hundred thirty nine dollars for the lab set up so expensive when I just want to record the voice of a two year what is it I I e suggestions were going mohr absolutely they recently did a post on f stoppers about using the x y input same way that you would have where is this son same input that this has here right on your iphone and just recording the audio off of that which is great I mean it's like one hundred fifty bucks so that's a quarter of the price take a look at it they actually have um it's stephen hasn't unlike the website like it sounds totally acceptable if you are on low budget it's not offensive but I mean it would not be good for like ambient noise before trying to get like interview are some audio totally fine it's but it's anything besides using these little tiny holes that's more less what we care about right um next setup we as you discussed thereabout you know anywhere from six fifty toe eight hundred bucks depending what you're looking for these are supposed to be held and if you've noticed if you guys have been onset of whatever reason that you've seen me they've mic me up several times because when I laugh I snort there's air coming out my nose and you can hear inside that yes because I go that snoring to me they could hear that so they've come and put a windscreen at certain points and stopped everybody from you guys from creative live from hearing me laugh which is it's fine but again the laughter the love mikes are the record three hundred sixty degrees they're supposed to be from six to eight inches from my face and if you notice it's perfectly they're what happened was when we start for the day I was sitting here like this on and I was listening and I went to laugh and I left innit so whoever heard me on the other end that's what they heard so just does its habit if everybody watching I'm discussing what happens so that's funny I'm also very echoey I reject a lot and so they have to be very careful not to get the echoes that air coming right back at me so it's good that you guys have audio engineers to sit here and do that for you guys can you imagine having to do that yourself know exactly that's why I love my own self but it can be easy it's just finding the solution that works for you for your work flow we'll discuss that on let's go on our third day just our entire workflow how to make it all happen how to make it all come together I would make sure you guys know I'm going to speak a lot about premier but I also want to let you know how I shoot my day and before I get to premiere what I'm doing in the back of my drives etcetera etcetera so let's uh let's continue um yes you know this is an incredible audio geek session that we have just had e I mean that in the best possible way I mean you know for someone that is new teo shooting with their dslr you know I think the first time I realized that I could hear me changing my shutter my s o in the audio of the camera I was like why would they possibly make a microphone that does that so that's where you start when you shoot with dslr all the way to the laval ear so and when you said you know it's just a matter of taste listening to those audio clips which I love and appreciate it so much that you guys did that I don't know if it really is a matter of taste I mean the levelers are you pretty much need if you want if you want serious audio what do you think about the recession like what we're doing in this specific environment loves or the way that you want to go but if you're doing something like more cinematic I wouldn't stick toe loves I would stick toe loves and like the road entreaty to to get some ambient noises because if not theoretically speaking if you guys decide you know what I love video I'm going to do a short film um you don't want your actors shooting um quiet quiet environment like this because this is supposed to be quite it's an interview session we're discussing things the second you do that to like actors or on location with a with a bride it doesn't sound right it sounds like she's hollow in a room by herself when she should be there with like her family and festivities you want to hear those little things in the back suits mixing

Class Description

Videography just got easy. Lindsay Adler and Jeff Rojas are going to show how to apply your existing rockstar photography skills to capturing video — without investing in fancy equipment or learning complicated technical jargon.

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