Suggestion?

Walter_Graff

Walter_Graff

Carbonite Member
We are currently in production on our first and second lighting DVD but I noticed quite a few who are curious about audio and especially mic placement. I was thinking about making some web instructional movies and selling them for $5 a pop. I want to make one specifically about audio so I would like suggestions about what folks would like to see demonstrated and explained? I would cover in general ways of miking lavs, hiding mics, booming, but wanted more from the group?
 
Walter,

Another you might consider would be mixing. Boy I sure was blasted by the group when I told them I was fiddling with EQ on location. ;-) But, in general, best techniques for mixing (from configurations to riding levels when necessary).

Phil
 
Yea, what would be really helpful. Especially the mixing part. What you have suggested though sounds really helpful.
 
Good idea Walter.

I would really like some stuff on post production. Correcting problems like boomy rooms, hiss, background noises, speech defects. Adding resonance. Simulating stereo from a single source.

Lav placement could be a biggie. SO could using a boom mic.
 
That post part might be too much to make as its very complicated and there are so many variables. I think for now I'll look into the acquisition side.
 
Well, I will give you my thoughts on the matter even though you have probably already thought of it and/or discarded it.

First, who is your market? From a dollars and cents standpoint there are more people buying cameras every day and i would say your target should be novices...assume they know only the very basics. What a camera and mic is and what they are for and the basics of how air moves the diaphragm in the mic and etc.

I'd give a basic description of mic theory and pattern and sensitivity and hearing range...just enough so that the subesequent advice you give will make sense.

I would start with equipment selection and make function oriented suggestions ("if you are doing weddings you should have this equipment...""Then, if you are doing weddings and want to spend [low amount$-med. amount$-higher$ amount] then a good choice would be..."). Then give an example of how they sound. If you make these into a DV then I would do a whole section of mic sound comparisons like thisiswells did with the ME66 vs AT4073A.

Then, I would outline the pieces needed to do the job. Camera, mic and what else? What KIND of mic? Mic stand? Mixer? Pre-amp? Boom pole? Backup recording device? Blimp? Fuzzy? Hand-held mic? Camera mounted mic? What length mic? Phantom powered or not? Computer interface device? Why? Why not? Under what circumstances would the answers be yes or no? And so on...

I'm very sleepy and will add to this or edit this at another time.
 
Thanks for your thoughts:


>First, who is your market? From a dollars and cents standpoint there are more people buying cameras every day and i would say your target should be novices...assume they know only the very basics.

That is the audience! Just like with my lighting teaching, there are many who have no mentoring, no means for good education on the mater

>What a camera and mic is and what they are for and the basics of how air moves the diaphragm in the mic and etc.

I'm thinking just a step above that. Theory is great and one can learn that in a book or on the web. More like here we go, watch as I show you all you need to know to set up the mixer, camera, and mics and here is examples of how we use them and tips and tricks to good sound

>I'd give a basic description of mic theory and pattern and sensitivity and hearing range...just enough so that the subesequent advice you give will make sense.

i like the pick-up, sensitivity portion, what mics do what. But then again I'll show relative information to what one does in film, not overall theory.

>I would start with equipment selection and make function oriented suggestions ("if you are doing weddings you should have this equipment...""

Nice. Already I can tell you I will show a lav, a boom, and a hand mic, the three mics we use most in all aspects of production. Specifics like weddings, news are less relative when you simply give examples of what is practical. This is more like a "THis old house" presentation, showing the real world, and less theory, which teaches real life and forgoes the boring textbook theory.

>I would do a whole section of mic sound comparisons like thisiswells did with the ME66 vs AT4073A.

Like likes I'm less concerned with such comparisons. a boom is a boom. Sure some are better quality than others, but let folks decide what manufacture they want o use, I'm more interested in good instruction and how to. I look at it as the difference between someone giving you a manual and watching someone else demonstrate that manual to you.

>Then, I would outline the pieces needed to do the job. Camera, mic and what else? What KIND of mic? Mic stand? Mixer? Pre-amp? Boom pole? Backup recording device? Blimp? Fuzzy? Hand-held mic? Camera mounted mic? What length mic? Phantom powered or not? Computer interface device? Why? Why not? Under what circumstances would the answers be yes or no? And so on...

More like it. Here is the camera and the mixer. First lets hook the up and show you how we calibrate both. Then plug some mics in and give you examples of how we use them. Let's understand how to get the best sound with placement and levels. A short but entertaining demo that hopefully will give folks some insight, answer some questions and get them to ask a few of themselves.

Thanks for your thoughts!
 
it never ceases to amaze me how many people out there struggle with basic signal routing, gain-staging type stuff, even some with a fair amount of camera experience. not knowing how to deal with impedance mismatches, etc. "why does it sound funny when i plug a line-level feed from somebody's mixer into a mic-level input on my camera, even though the connections look the same?" that type of thing. for the audience you seem to be shooting for, i think that stuff is valuable. i know you want to avoid getting bogged down in "theory," but i'm talking about the aspects of theory that pretty quickly become practice when you're working in the world.
 
And I for one have little interest in a mixer, more interested in the issues related to direct camera audio capture (mic selection and placement, etc)
 
i would love to see real world examples of great lav placement.

i worked on one project with a guy with a lot of stage background and he had great technique in placing the mic in the hair of the talent where you couldn't see it and it never moved during the shoot.

focus on acquisition because the bulk of the problem audio i've had people ask me to fix could have been avoided if they had recorded clear audio.

matthew
 
matthewd5 said:
focus on acquisition because the bulk of the problem audio i've had people ask me to fix could have been avoided if they had recorded clear audio.

matthew
Click to expand...

Amen Brother, Amen. :thumbsup:
 
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