- 1. For week ending April 2, 2021
- (CSUN - CTVA 358)
- ... from the sound track, such as camera noise, lighting humm, and similar background problems 17) Regarding the initial mix-panel set-up of TRIM or GAIN pots prior to the take: a) it does not matter whether ...
- Created on March 29, 2021
- 2. For week ending Dec 11, 2020
- (CSUN - CTVA 358)
- ... and quiet acoustics. There is a neon sign close in the background. The exercise bikes are extremely noisy. What is the best choice for mic, and EXPLAIN why? a) AT4051, MKH40, or Schoeps on a fishpole b) ...
- Created on December 04, 2020
- 3. For week ending May 14, 2021
- (CSUN - CTVA 358)
- ... Camera requires 3 feet of headroom; the fitness center is large, open, carpeted, with excellent sound absorption and quiet acoustics. There is a neon sign close in the background. The exercise bikes ...
- Created on May 10, 2021
- 4. For week ending Oct 30, 2020
- (CSUN - CTVA 358)
- ... background problems 17) Regarding the initial mix-panel set-up of TRIM or GAIN pots prior to the take: a) it does not matter whether you use the TRIM pot or the FADER to adjust dialog during a take, ...
- Created on October 26, 2020
- 5. For week ending Sept 14, 2018
- (CSUN - CTVA 358)
- ... Background Noise What Your Crew Expects of You Deal Memo's Also, please read the article about Calling the Roll. www.filmtvsound.com/index.php/audio-tech...ka-turn-em-over-text We did not finish that ...
- Created on September 08, 2018
- 6. For week ending Sept 4, 2020
- (CSUN - CTVA 358)
- ... for Your Shoot series Basic Equipment Package Set Design for Dialogue Recording Controlling Background Noise What Your Crew Expects of You Deal Memo's Many of you still have not registered for our site. ...
- Created on August 30, 2020
- 7. Omni versus cardioid handheld mic for re
- (General Questions)
- ... the reporter fails to angle the mic correctly, it does not matter. A directional mic gives you more reach and less background noise, but has to be aimed correctly at the mouth. An omni is totally forgiving ...
- Created on August 30, 2011
- 8. Controllable Background Noise
- (Production Planning)
- ... Sources of background noise include: The Environment (e.g. surf, animals, wind, water) Work Traffic Equipment (e.g. refrigeration, lighting, air-conditioning) Film Crew (e.g. base camp, ...
- Created on August 15, 2011
- 9. Room Tone vs Background tracks
- (Sound Design)
- ... set. However, unless you are an editor, you may not fully understand just what good Room Tone is, why we need it, how it differs from background tracks, and how to manipulate it to maximize the power of ...
- Created on May 27, 2020
- 10. Software for Podcasting
- (Production Advice)
- ... it in that format. Import your individual tracks into Audacity. They will be in sync until you begin editing. Your first chore is to de-noise them and eliminate some of the room tone or background ambiance. ...
- Created on February 11, 2021
- 11. Do you really need a mixing panel?
- (Mix Panels)
- ... and out of the soundtrack in order to prevent phasing and to prevent the dialogue track from becoming too cluttered with background noise. Easy enough to do with a mixing panel, but extremely difficult ...
- Created on June 25, 2019
- 12. Photo Trap Change Detection
- (Production Advice)
- ... with my background, in addition to being a film soundmixer, I have also worked with, as well as instructed audio for, various organizations connected with law enforcement and government video production ...
- Created on September 10, 2018
- 13. Using your production recording tracks strategically
- (Recorders)
- ... elements. The editors would augment these original tracks with ADR, Foley, sound effects, backgrounds, and so on. What began as one production track might evolve into over 100 separate tracks going in ...
- Created on March 18, 2018
- 14. Basic Audio for Indie Project
- (Production Planning)
- ... part to fix in the mix. A great way to do this is by reducing all of the background sounds to the minimum. Another method used by professionals is lowering your recording input levels to -12 decibels and ...
- Created on July 14, 2016
- 15. Izotope RX5 Tools for Audio Editing
- (Post Production)
- ... to (almost magically) remove background noise, lessen echo/reverb, edit out specific noises within a complex waveform without distrubing the adjacent audio, smooth out levels, remove breath sounds, pops, ...
- Created on November 15, 2015
- 16. Improve Audio for Video: Keep Mics Off of Camera
- (Shotgun)
- ... if there is any background noise. You need microphones that are very directional and generally more sensitive than what you would need for music. The second issue is that although light (as in picture) ...
- Created on August 25, 2014
- 17. Review of Shotgun Mics for Film & Video
- (Shotgun)
- ... (up to 8 or 9 feet overhead) but will increase interior echo if the room has any echo at all. Primarily used outdoors, where echo is not an issue but side background noise is. Long shotguns are often ...
- Created on May 22, 2013
- 18. Sync Playback: revisited
- (Audio Techniques)
- ... so that the set is silent in order to record usable clean dialogue. However, the playback track continues to play in the headphones or earphones of the "band" in the background, or for the choreographer ...
- Created on April 11, 2013
- 19. Audio Technica press release about Fred Ginsburg
- (Fred's Blog )
- ... shotgun) to keep extraneous noises like traffic out of the background on exterior shots, again to keep the focus on the dialog. An Audio-Technica BP4073 Line + Gradient Condenser (short shotgun) allows ...
- Created on December 09, 2012
- 20. Advice for First Feature Indie
- (Fred's Blog )
- ... Countryman B3 if you need lavs to hold back background noise and only pick up the one actor wearing them. Sankens and Trams are good, too. Best advice is to hire someone who is experienced somewhat in ...
- Created on November 14, 2012
- 21. Student Projects
- (Fred's Blog )
- ... lavs described as trasnparent, natural sounding, good for plant mics; or proximity, good rejection of background noise. In short, I wanted to know WHY you selected what you selected. Most of you will ...
- Created on December 15, 2011
- 22. CSUN Films FBI psa'
- (Fred's Blog )
- ... in order for the internal fans to shut down to enable "silent" running. During all of the dialogue scenes, the background actors were instructed to make no noise, and to pantomime any conversation o ...
- Created on November 01, 2011
- 23. Filmming in a Park
- (Production Advice)
- ... for their benefit. That means that the locals may or may not visit the park at any given day or time. There may or may not be activities in the background. Maintaining continutiy is going to be a real ...
- Created on September 20, 2011
- 24. Filmming in a Park
- (For Students)
- ... for their benefit. That means that the locals may or may not visit the park at any given day or time. There may or may not be activities in the background. Maintaining continutiy is going to be a real ...
- Created on September 20, 2011
- 25. Sound for Surfing
- (Production Advice)
- ... and water splashes directly onto the lavalier), not to mention the overwhelming roar of the background. For the quieter scenes, such as paddling out, or calmly adrift in the ocean -- there are two approaches. ...
- Created on September 10, 2011
- 26. Introduction to Production Sound
- (Production Planning)
- ... be expected to deliver is general background ambience. If we keep the boom option, then our sound mixer has to learn to balance the pole in one hand, while trying to control audio levels with the other. ...
- Created on August 29, 2011
- 27. The Conned Film Festival
- (Sample Exercises)
- This exercise consists of an exterior scene involving boom, wireless lav, and plant mic. It is a good opportunity to work with battery powered mixers, long booms, windscreens, and exterior conditions. ...
- Created on August 29, 2011
- 28. Foley on a Shoestring Budget
- (Post Production)
- ... of these early mics, or due to loud background noise -- the dialogue was often "looped" back at the studio. The looping or ADR process replaced the voices, but not the sound effects of the scene. So all ...
- Created on August 29, 2011
- 29. Priorities of Recording
- (Sound Design)
- ... there are priorities to consider. Not all sounds are equally important. Here is an overview of: dialogue, perspective, sync sound effects, wild lines, wild sound effects, background tracks, and proper ...
- Created on August 27, 2011
- 30. Audio for Television: Mixing the Basic Event
- (Production Planning)
- ... omni or cardioid "reporter's mic" to pick up their audio. A dynamic mic will give you the cleanest sound with the least amount of background noise. Omni mics such as the ElectroVoice RE50, Audio Technica ...
- Created on August 26, 2011
- 31. Set Design for Dialogue Recording
- (Production Planning)
- ... where the wall and floor meet. Any shadows cast by the actors heads or the boompoles will not show up on the background wall. Use a separate "background light" to illuminate the wall, maybe even adding ...
- Created on August 26, 2011
- 32. Consistency in Sound Recording
- (Sound Design)
- ... background noise, and spot sound effects. The audio levels between the actors will vary in relation to each other; different people do not speak at the same level nor with the same intensity. But real ...
- Created on August 26, 2011
- 33. Audio for Mini Input
- (Cables & Connections)
- ... out beautiful. It's the same way with sound. Feed your camcorder a strong signal with dialogue dominating over ambience; or sound effects dominating over background noise -- and the resultant soundtrack ...
- Created on August 26, 2011
- 34. Using a Microphone Boompole
- (Boompoles)
- Camera-mounted mics may be adequate for general ambiance and background effects, but they lack the reach and versatility of boom mounted mics. Placing the microphone where the lens is may be convenient ...
- Created on August 25, 2011
- 35. Introduction to Windscreens
- (Windscreens & Shockmounts)
- ... it is a generated background noise in our environment, it cannot be controlled by a windscreen. Rolling off or filtering out the low frequencies will help somewhat, but howling wind is made up of a ...
- Created on August 24, 2011
- 36. Beginners Guide to the ENG 44 Portable Mixer
- (Mix Panels)
- ... to filter out the extreme low frequencies when recording voice; but to leave them in for music and special sound effects. Generally, use the FLAT setting when recording indoors, unless there is background ...
- Created on August 23, 2011
- 37. ENG Mixing Panels for Production Sound
- (Mix Panels)
- ... voices (and background ambiance) match from shot to shot. Likewise, if you choose to leave the low cut filters off for interior scenes, don’t suddenly change your mind later on and engage the low cut for ...
- Created on August 23, 2011
- 38. Two-Track Mixing for Location Dialogue
- (Sound Design)
- ... to make independent adjustments. There is one exception to this rule: stereo background sounds. Because all of the dialog and action sound effects will be recorded as single track (monaural), editors ...
- Created on August 23, 2011
- 39. Chapter 1: Location Scouting
- (Series - Preparing for Your Shoot)
- ... lens, which can frame out those items which the director does not wish the audience to see, the microphone cannot be particularly selective in what it hears. Unwanted background noise is omnipresent, and ...
- Created on August 22, 2011
- 40. Chapter 2: Elements of the Soundtrack
- (Series - Elements of the Soundtrack)
- ... nicknamed the “voice of God” approach) — then isolated studio recording is called for. The voice track is recorded with a full presence, completely free of any ambient background noise or room coloration ...
- Created on August 22, 2011
- 41. [VIDEO] Mic Basics Series
- (General)
- ... overhead, so as to demonstrate their effective reach and echo potential. The AT4051 and AT4071 are also shown in an exterior setting for comparison of their background noise characteristics. Mic ...
- Created on August 21, 2011
- 42. Live Demo (local TV remote)
- (Sample Exercises)
- ... minutes to closing, or whatever length the instructor deems. I find that this is a good opportunity to get out of the classroom and set up somewhere else on campus. The students learn to deal with background ...
- Created on August 21, 2011
- 43. Production Sound Reading List
- (College Classes)
- ... / clapstick Room Tone vs Background Tracks Production Planning Preparing for Your Shoot series Basic Equipment Package Set Design for Dialogue Recording Controlling Background Noise What ...
- Created on August 19, 2011
- 44. Reading List
- (CTVA 358)
- ... reports, headers Production Planning Preparing for Your Shoot series Basic Equipment Package Set Design for Dialogue Recording Controlling Background Noise What Your Crew Expects of You ...
- Created on August 19, 2011
- 45. Audio Fundamentals Reading List
- (CTVA 230)
- ... Preparing for Your Shoot series Basic Equipment Package Set Design for Dialogue Recording Controlling Background Noise What Your Crew Expects of You Deal Memo's Understanding Mixing Panels ...
- Created on August 19, 2011
- 46. Reading List
- (Education)
- ... reports, headers Production Planning Preparing for Your Shoot series Basic Equipment Package Set Design for Dialogue Recording Controlling Background Noise What Your Crew Expects of You ...
- Created on August 19, 2011
- 47. [REVIEW] Audio Technica BP896
- (Lavalier)
- ... across the cheek on a short boom. The BP892 was designed for clean, crisp vocals during live performances, with minimal feedback or background noise. The BP896 is an extension of that technology, but ...
- Created on August 19, 2011
- 48. Selection and Use of Lavalier Microphones
- (Lavalier)
- ... best when kept fairly close to the source of the voice, emphasizes that voice, and suppresses background. A prime example of this sort of lavalier is the Sony ECM-55 (the current successor to the ECM-50). ...
- Created on August 18, 2011
- 49. Selection and Use of Shotgun Microphones
- (Shotgun)
- ... camera lens. A long lens will isolate and magnify a distant subject, but at the same time it will compress the perceived distance between subject and background. Everything appears to be closer together ...
- Created on August 18, 2011
- 50. Microphone Powering
- (General)
- ... simple and durable -- dynamics are ideal to use in loud-noise situations, such as the recording of explosions. Used close to the mouth in a loud background situation, they will deliver a surprisingly clean ...
- Created on August 17, 2011
- 51. Hierarchy of Microphone Techniques
- (Audio Techniques)
- ... & talk" against a scenic city background is visually more interesting than a talking head in a cramped office. Think in terms of what is known as the Hierarchy of Microphone Techniques. This hierarchy ...
- Created on August 17, 2011
- 52. Equipment Advice: Selecting Boompoles & Shotgun Mics
- (Boompoles)
- ... (but do not expect miracles) and front reach will be optimized. Remember, though, that any sound emanating from behind the subject will be magnified similar to the way that background objects are "brought ...
- Created on August 15, 2011