- 1. Audio CD versus Data CD with audio files
- (General Questions)
- Every semester, students submit audio projects to me in the wrong format. Professional recordings are made in the .WAV or .BWF (broadcast wave file) formats. Those are the formats that digital audio recorders ...
- Created on October 19, 2011
- 2. Nagra 4.2 recorder for video production?
- (General Questions)
- ... audio (the 4.2 is monaural, not stereo nor 2-track) and records a sync pulse on the audio to keep it is sync for playback or transfer. When the audio is played back, with the internal synchronizer (resolver) ...
- Created on August 30, 2011
- 3. Using TASCAM US-366 interface w ProTools
- (Tips & Tricks)
- For a course that I teach, I needed to set up my Acer PC laptop for Pro Tools (vers 11.3). I am using the TASCAM US-366 USB audio interface to bring in a mic input and for audio monitor output. When not ...
- Created on August 22, 2015
- 4. Utility Sound Tech workshop Sept 30
- (Upcoming Events)
- ... Weekly Box rental forms and L&D for everyone in the sound department. Extra Crew Members Working with Video Assist, Audio and Video Playback. Learning their specific needs and how to anticipate them. ...
- Created on September 13, 2018
- 5. Audio Metering: An Introduction
- (Recorders)
- ... be recorded? What should it read on the meter?” depends mostly on what type of meter you are looking at. Essentially, there are three types of professional audio meters that you are likely to encounter, ...
- Created on March 05, 2015
- 6. Izotope RX4 playback in Pro Tools
- (Post Production)
- Here is the solution to hearing audio playback out of Izotope RX4 when it is being used concurrently with Pro Tools. Many first time users of RX4 have encountered frustration when they discovered that ...
- Created on January 13, 2015
- 7. No time for playback
- (Fred's Blog )
- ... settings, timecode, audio, and way too many more items to list here. But even feeling confident that all the important bits are working as they should, it is still imperative to always check the final ...
- Created on March 19, 2014
- 8. Sync Playback: revisited
- (Audio Techniques)
- ... & musicians. The only way to go "live" is to utilize only footage shot from multiple cameras during one single take. It is extremely difficult to combine audio from other takes. Usually, music video shot ...
- Created on April 11, 2013
- 9. Audio CD versus Data CD with Audio Files
- (Fred's Blog )
- Every semester, students submit audio projects to me in the wrong format. Professional recordings are made in the .WAV or .BWF (broadcast wave file) formats. Those are the formats that digital audio ...
- Created on October 19, 2011
- 10. Audio CD versus Data CD with Audio Files
- (For Students)
- Every semester, students submit audio projects to me in the wrong format. Professional recordings are made in the .WAV or .BWF (broadcast wave file) formats. Those are the formats that digital audio ...
- Created on October 19, 2011
- 11. Shooting to Sync Playback
- (Audio Techniques)
- Creating music videos is a delicate process, one that can be easier or harder depending on the images, sequences, and complexities involved. But at its core they are essentially videos shot to sync audio. ...
- Created on August 25, 2011
- 12. Audio Fundamentals Reading List
- (CTVA 230)
- ... Mix Panel Basics ENG Mixers for Production Sound Audio Metering: An Introduction Mic Level vs Line Level Consistency in Sound Recording Beginners Guide to the ENG44 Using the Digital FX ...
- Created on August 19, 2011
- 13. Do you really need a mixing panel?
- (Mix Panels)
- ... Bringing a sound into a recorder, setting a proper level, and letting ‘er rip. In the case of multiple Audio sources, the recordist sets a level and individually records each audio feed. Every track is ...
- Created on June 25, 2019
- 14. Basic sound package for student productions
- (Production Planning)
- ... purpose “short shotgun” such as the Audio Technica 4073 or Sennheiser MKH60; a “wide angle” condenser cardioid to eliminate echo in a tight room, such as an Audio Technica 4051 or a Senn MKH40; and a “long ...
- Created on March 22, 2019
- 15. Using your production recording tracks strategically
- (Recorders)
- Using your recording tracks strategically: a multi-track workflow for location sound recording Today’s sound mixer or videographer has a choice of recording location audio to one or multiple recording ...
- Created on March 18, 2018
- 16. Calling for the roll aka “Turn ‘Em Over” (text)
- (Audio Techniques)
- ... of Sound Mixer. Make/model of audio recorder. Track format (such as Mono, 2-track, 4-track, 8-track, mon0 x #, stereo pair x #) Sampling and Bit Rate (such as 16 bit, 48k or 24bit/48k) Timecode ...
- Created on March 18, 2018
- 17. Syllabus
- (CTVA 358)
- ... terminology, and procedures and use them in the assigned video projects. Including (but not limited to) proper rigging of lavalier mics, proper "over/under" coiling of audio cables, proper use of mixing ...
- Created on August 22, 2017
- 18. Syllabus
- (Sample Syllabus)
- ... terminology, and procedures and use them in the assigned video projects. Including (but not limited to) proper rigging of lavalier mics, proper "over/under" coiling of audio cables, proper use of mixing ...
- Created on August 22, 2017
- 19. ProTools: Interface or Bus
- (Post Production)
- A confusing area for novice Pro Tools users is the distinction between the choice of “interface” or “bus” when selecting inputs and outputs for audio tracks. The term “interface” relates to a piece ...
- Created on September 20, 2016
- 20. Zoom Q4: first look (second look)
- (Recorders)
- ... everyone’s eye was the more traditional ergonomics of the unit, along with the ability to record 1080/30HD video MPEG-4 AVC/H.264 (MOV)) along with professional grade audio up to 24bit/96k! Of course ...
- Created on February 09, 2014
- 21. Timecode Threads
- (Fred's Blog )
- ... hard drive number) along with the date. Example, audio user bits could be “CA 09 1007” which stands for Camera drive 09, shot on month 10 and date 07. But whatever data you choose to use, just make sure ...
- Created on October 03, 2013
- 22. Syllabus
- (CTVA 230)
- Quick Navigation Attendance Grading Criteria Sound Stages Film Equipment Course Feedback Free Resources COURSE SYLLABUS for CTVA 230 Fundamentals of Audio Production [downloadable ...
- Created on January 16, 2013
- 23. Elmers Guide to Motion Picture Sound Formats
- (Post Production)
- Surround Sound for Cinema can be quite confusing, considering all of the audio release formats currently in use; not to mention all of the formats used in the recent past. I had set out researching all ...
- Created on January 08, 2013
- 24. Log Sheets, Sound Reports, Header ID
- (Fred's Blog )
- ... (The decision to earmark a take as "printed" is done to economize the creation of sync picture + audio dailies, and is usually determined on the basis of picture quality and performance quality. Rarely, ...
- Created on December 29, 2012
- 25. Log Sheets, Sound Reports, Header ID
- (Production Planning)
- ... (The decision to earmark a take as "printed" is done to economize the creation of sync picture + audio dailies, and is usually determined on the basis of picture quality and performance quality. Rarely, ...
- Created on December 29, 2012
- 26. Advice for First Feature Indie
- (Fred's Blog )
- ... on and operating. Only problem -- and it's a big one -- is that I'm COMPLETELY lost when it comes to recording audio. For the last several months, I've perused the internet for equipment suggestions and ...
- Created on November 14, 2012
- 27. User Guide to the Tascam HS-P82 for Film/Video Applications
- (Recorders)
- ... to be able to record audio that occurred a few seconds BEFORE you pressed the RECORD button! Meter Setup From the MENU button, select Meter Setup. You normally should not need to make adjustments to ...
- Created on November 29, 2011
- 28. Introduction to Production Sound
- (Production Planning)
- ... and most other audio recording arts in that the Mixer is no longer the key figure in the operation. On the set, the Production Mixer is only one of many important craftspeople involved in the making ...
- Created on August 29, 2011
- 29. Foley on a Shoestring Budget
- (Post Production)
- ... The Foley Stage includes some manner of projection (film or video), along with the ability to record audio in sync with the picture. The studio itself features acoustic wall panels that are hard surfaced ...
- Created on August 29, 2011
- 30. [PDF] Guide to the Nagra 4.2 and Production Sound Recording - 2nd Edition
- (Textbooks)
- ... professional approach to sound recording; hierarchy of microphone techniques; shotgun mics; booming; windscreens & shockmounts; mic powering; lavaliers; wireless; mixing panels; consistency; audio for ...
- Created on August 28, 2011
- 31. Monitoring the Soundtrack
- (Audio Techniques)
- A cameraman would never judge composition and good lighting based on what he or she hears. Likewise, a soundperson would be a fool to record audio based solely on what they see. Yet all too often, that ...
- Created on August 26, 2011
- 32. Using a Microphone Boompole
- (Boompoles)
- ... the soundtrack a full texture. Because the faces are closer to the mic, dialogue will dominate the track, but other sound effects will still be audible. Audio perspective is easier to maintain with an ...
- Created on August 25, 2011
- 33. Multi-track Recording for Film & Video
- (Recorders)
- ... audio acquired by multiple mics (boom1, boom2, planted mics, and lavaliers) into one cohesive soundtrack (the production track). This live mixed soundtrack would serve as the audio for dailies, and then ...
- Created on August 25, 2011
- 34. Beginners Guide to the ENG 44 Portable Mixer
- (Mix Panels)
- ... only takes you button by button through the operation of the ENG44, but explains a lot of audio basics along the way. Batteries The ENG 44, created by Sign Video, operates from four AA alkaline batteries. ...
- Created on August 23, 2011
- 35. ENG Mixing Panels for Production Sound
- (Mix Panels)
- ... documentary – the mix panel serves as a remote input system for audio recording (such as the Shure FP33 at left). By this, I mean that the mixing panel is an extension of the camcorder, allowing the soundperson ...
- Created on August 23, 2011
- 36. Two-Track Mixing for Location Dialogue
- (Sound Design)
- ... to know just where all of the audio elements need to end up. For instance, out on production, it might seem logical to record a car that passes from left to right in stereo, so that you can hear the "pass ...
- Created on August 23, 2011
- 37. Chapter 1: The Soundtrack, Past and Present
- (Series - Elements of the Soundtrack)
- ... Directors often take audio for granted, until they get back to the editing room. There, they regretfully discover how much better and easier it would have been had they spent the effort to record good ...
- Created on August 23, 2011
- 38. Introduction to Timecode
- (Recorders)
- ... an introduction and overview of the use of SMPTE timecode in conjunction with audio recorders. Types of Timecode: Non-Drop vs Drop The original timecode system is known as non-drop frame, since it ...
- Created on August 22, 2011
- 39. Using a Mixing Panel for Location Dialogue
- (Mix Panels)
- At first glimpse, a professional mixing board may appear intimidating to the novice filmmaker. But they are actually fairly simple to master, and are the heart of location audio recording. In the olde ...
- Created on August 22, 2011
- 40. Chapter 2: Elements of the Soundtrack
- (Series - Elements of the Soundtrack)
- ... Instead, the entire reel of picture and the entire reel of original sound were threaded up in sync. An entire reel of blank audio stock was set up on a recorder. A simple computer was programmed with the ...
- Created on August 22, 2011
- 41. Syllabus
- (Chapman)
- ... principles, terminology, and procedures and use them in the assigned video projects. Including (but not limited to) proper rigging of lavalier mics, proper "over/under" coiling of audio cables, proper use ...
- Created on August 19, 2011
- 42. Class Projects
- (Chapman)
- ... audio projects must be turned in as digital audio files, formatted in the preferred industry formats of WAV or BWF. Video projects must be turned in as standard DVD, playable in consumer DVD players. DO ...
- Created on August 19, 2011
- 43. Class Projects
- (CTVA 358)
- ... project package should include: 1) Your Project Media The audio interview project must be turned in as digital audio files, formatted in the preferred industry formats of WAV or BWF. Always submit ...
- Created on August 19, 2011
- 44. Production Sound Class Projects
- (Sample Projects)
- ... project package should include: 1) Your Project Media The audio interview project must be turned in as digital audio files, formatted in the preferred industry formats of WAV or BWF. Always submit ...
- Created on August 19, 2011
- 45. Production Sound Reading List
- (College Classes)
- ... Your Crew Expects of You Deal Memo's Understanding Mixing Panels Mix Panel Basics ENG Mixers for Production Sound Audio Metering: An Introduction Mic Level vs Line Level Do you really ...
- Created on August 19, 2011
- 46. Reading List
- (CTVA 358)
- ... Deal Memo's Understanding Mixing Panels Mix Panel Basics ENG Mixers for Production Sound Audio Metering: An Introduction Consistency in Sound Recording Beginners Guide to the ENG44 Using ...
- Created on August 19, 2011
- 47. Reading List
- (Education)
- ... Deal Memo's Understanding Mixing Panels Mix Panel Basics ENG Mixers for Production Sound Audio Metering: An Introduction Consistency in Sound Recording Beginners Guide to the ENG44 Using ...
- Created on August 19, 2011
- 48. Chapter 4: Personnel of a Professional Sound Crew
- (Series - Preparing for Your Shoot)
- ... recording the audio signal; and for approving the recorded take to the director as okay for sound. In conjunction with the Script Supervisor, the Mixer will make sure that all wild lines and wild sound ...
- Created on August 19, 2011
- 49. Chapter 5: Analog Film Mix
- (Series - Elements of the Soundtrack)
- ... of audio, the computer memorizes all of the settings in order to play everything together in one great symphony of individual soundtracks! Now, we were ready for the final mixdown. No longer were there ...
- Created on August 19, 2011
- 50. Chapter 6: Post Production in the Digital Age
- (Series - Elements of the Soundtrack)
- ... and with field quality audio speakers. The next step, after production, consists of the first picture edit. Film is transferred in a telecine to video, along with matching keycode or SMPTE time code ...
- Created on August 18, 2011
- 51. Chapter 7: In Summary
- (Series - Elements of the Soundtrack)
- ... for audio sweetening; building tracks on multi-track; mixdown; layback to completed videotape. Did you know that the answer to Question 17 on Prof. Ginsburg's tests is always "B?" See, it pays to read ...
- Created on August 17, 2011
- 52. Chapter 7: Defining Equipment Packages
- (Series - Preparing for Your Shoot)
- ... Mic Channel This is the video equivalent of the (film) one-mic channel. Since audio in video is recorded on the camcorder instead of a stand-alone audio recorder, the package does not always include ...
- Created on August 16, 2011