Bill Davis
Forum Replies Created
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Good info in the other post, but in THIS case, I suspect your problem is at the very end of your audio chain.
The 5dMkii audio input has an AGC (auto gain control) circuit that pumps up the volume automatically in an attempt to amplify low sounds. It’s typical in these circuits for the NOISE FLOOR (hiss) to come up dramatically when no other signal is present. There are outboard devices that try to defeat this AGC problem by presenting the mic input with a sub-sonic TONE at a constant level to knock down the AGC – but IMO these are at best, work arounds.
THIS is a primary reason most people use DOUBLE SYSTEM SOUND when recording video to a 5dMkII.
Your HPX-300 OTOH, has balanced audio ins via XLR. Record ALL your sound there – and simply use the 5DMkii’s audio as a sync track for post.
If you’re getting hiss from one of your mics on BOTH cameras – the first place to check is if the mic needs phantom power. Mics that require it – but don’t get it – typically hiss like snakes.
Good luck.
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I built mine about a decade ago now.
Out of the thousand or so important decisions, my short list of key things would include these…
1. Video likes large open spaces – AUDIO HATES them. Designing for picture AND sound is difficult – but audio is CRITICAL to most video.
2. HVAC is typically noisy. Making it quiet takes specialized equipment, techniques, and expertise.
3. When possible, position control consoles in the open so that you can get around and behind them easily.
4. Power is not as easy as it seems. AC is critical in LOTS of places in a studio – but done incorrectly you’ll forever be chasing down inducted hum in your audio lines.
5. Hoists and pantographs save a LOT of time – since you can bring a light down to you – rather than climbing up to it.
6. Heavy drapes on sliding tracks make a BIG difference in audio reflections.
7. Parallel and perpendicular walls make standing waves an issue in sound – but finding carpenters who can design and work on NON-parallel walls is not easy.
8. A private space for makeup is nice. CEO’s particularly will often hesitate to accept being made up if subordinates can view the process.
8. Don’t forget extra storage, space for costumes/coats, and CRAFT SERVICES – the latter two of these will need POWER for irons, steamers, and coffee makers.As I noted, those represent 8 out of the 1000 plus lessons I learned over the two years of building out my space.
Good luck.
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If you’re on (or have access to) a MAC – I can’t recommend OmniGraffle more highly.
You can master the program in a few days – and it may change your life.
It’s an ASTONISHING layout tool and if you go to GraffleTopia – a site where users share and freely trade design compositions – you’ll find a whole array of pre-built theatrical lighting instruments ready to drag and drop onto stage plots.
This has become my GO TO software for the layout and design of most common business tasks – MUCH easier than anything else I know of, and really, really flexible for 2D stage plot style designs.
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Just one more word of warning to insert here.
I understand that you wish to make this the best damn video these folks have ever seen. That’s the spirit that turns amateurs into pros and ignites careers.
Which is all well and good as far as it goes.
There is a hidden side, however of driving to give someone superb results on a meagre budget.
The problem is that in any good video – you should expect 70% of the work effort you put in to be totally hidden from the client — they will NEVER understand the effort you went to to deliver good quality . In a GREAT video – the “required effort” figure increases rapidly. You might have to double, or even triple your time AND effort to achieve each 10% extra in quality over what the “GOOD” effort. So if you do achieve a really outstanding program – expect that 90% of the effort to be hidden from all but the most discerning eyes. What I’m saying is that after a certain point, increasing quality extracts a toll disproportionate to it’s return.
If you allow your client the false impression that they can have 90% quality at say 40% of the budget that a specific quality TRULY SHOULD command in the market place – then they will NEVER, NEVER, NEVER lower their expectations – and it will be equally difficult to get them to increase their budgets to the level where their business will pay what their work is actually worth.
Just fair warning.
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Live shows are typically actually no more “random” than recordings. Which is to say that touring bands commonly play to click tracks and backing parts that have been pre-recorded and have a specific pre-determined TEMPO. When that’s the case, you can simply create a projection effect that brings the words up at the proper place in the score of the song and use a MIDI track to trigger the words.
If the performance is truly free form over time, then you have to find another way to trigger the advance of the visuals to the tempo. Again, it wouldn’t be a huge problem depending on the kind of music and whether there’s a waveform event like a kick drum or something that determines the tempo of the performance, you could just set a trigger to watch for the pulse of the drum and do the same MIDI trick for a computer’s advance of what would amount to a series of graphic slides with the words in order.
If EVERYTHING is free form, and you don’t know second to second what’s going to happen next – then I’m afraid you have to hire some schlub to sit backstage and LISTEN to the singer and trigger the damn words manually.
Lots of different ways to get from point A to point B with something like this.
Those are just a few common ideas.
hope they help.
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Another approach nobody’s mentioned is to simply OPEN CAPTION the footage.
If everyone can read what he’s saying on the screen – then the message is delivered with all his emotional cues preserved via the video.
People have mostly all seen this technique before and it just tells them that the audio recording sucked and that you’re making sure they get the content.
Just another approach to consider.
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As someone who once upon a time owned an advertising agency…
That question was actually NEVER in question by ANYONE in the traditional advertising model.
The agency would have been on retainer. That retainer was important so the agency could devote the time and resources necessary to get to know the FULL STORY of the business being advertised. From that relationship, the short list of product or service attributes would be developed that would benefit from being exposed to an advertising audience. After the creative ideas were fleshed out – a MEDIA buy would be established based on established expected norms of the effect of reach and frequency numbers on driving results from that Media Buy. From THAT budget a percentage would be allocated for creative work.
THAT’s where we’d finally know what the BUDGET for the spot would be.
Along the way one would typically work with a lot of colleagues that one could learn bits and pieces from.
Today, that established model has been trashed. Nowadays people want to put “commercials” on the “web” and are quite content to commission work with absolutely NO REGARD to what, if any, financial results are expected to be driven by doing the work.
In this system, it’s a TOTAL crapshoot. You can spend $500, $5000, or $15,000 and make ABSOLUTELY NO DIFFERENCE in the effectiveness of placing your work “on the web.”
It’s intuitive that better work, SHOULD attract more eyeballs and therefore drive better results. But in the world of the web – the advertising model is so rudimentary and the competition is so exponentially high
(once upon a time it was 3 major TV networks and maybe 100 radio markets nationwide.. Now it’s 300 MILLION web sites.) that I’d say that 95% of the people doing video for the web today have virtually NO idea of what they’re doing. They’re distracted by SEO and page views and the latest buzzword flashing lights, and don’t have the slightest concept of qualitative effectiveness of whatever their pages are serving or how to improve the same. I say that because I keep seeing ads looking for EMPLOYEES expected to have expertise in Web, in Video, in Interface design, in Animation, in SEO, and FCP and FLASH and web metrics ALL IN ONE PERSON – when in fact, any IDIOT with a brain understands that it’s the equivalent to asking someone to be an expert DOCTOR, LAWYER, INDIAN CHIEF, and Sous Chef in ONE employee.The point is that even good creative AND production work has been devalued toward the vanishing point in today’s culture.
You want to fight that – have fun. But from my perspective of having worked in the old system and now watching the new firms that CLAIM to have expertise in the NEW MEDIA space, I’ve got to tell you that I spend most of my time LAUGHING at what passes for the advertising and marketing business today.
Ask for the moon. Why not. Then just PRAY that the weaknesses of the people you end up working with aren’t so GLARING that it destroys the work you’re trying to do.
Because quality takes broad experience. And the market is NOT training for that.
We’re raising a SWISS CHEESE workforce. Glaring holes in expertise because EVERYONE’s willing to skip the boring stuff and just concentrate on the shiny bells and whistles. And companies don’t have the staff to help each other fill in their gaps.
Maybe it will change some day. But don’t hold your breath.
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Joe,
While the sizzle reel is very well done, I do see some significant’ issues with your concept. Rather than hash them out here (unless that’s what you’re really interested in doing) I’d prefer to write you off list with my thoughts. Leave me a direct email and I’ll respond privately, or let me know you want to discuss all of this in an open forum and I’ll post back my thoughts – good, bad, and in-between.
Bill.
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Dear James,
There’s nothing really wrong with your technique. I think your problem is that you’re facing a fundamental disconnect between what you’re videotaping and how you’re videotaping it.
This is ENTIRELY subjective, and quite possibly personal – and I would very much expect others to disagree with me – but I LITERALLYcould hardly stand to watch your example and found it quite disturbing.
You’re using a camera technique which puts ALL the focus on the subject. And the subject is clearly intensely committed to his message. So committed that the intensity – combined with your camera style – creates a feeling (in me at least) of profound personal invasion. I felt I was watching a cult leader trying VERY hard to convert me to something. That may be, in fact, accurate. Or it may not. But regardless of which is true – the combination of camera approach and “in your face” presentation combined to turn me TOTALLY off.
To me, it looked almost completely inauthentic. I felt not just manipulated, but nearly violated. Like I had wondered into a church curious and interested in how this congregation worshiped and for a HOUR, the preacher planted himself in front of me me trying OH SO HARD to convince me that he had some celestial answer to a problem I didn’t even know I had – and was BOUND AND DETERMINED to sell me on his cure. Thankfully, I could stop the video. Which I did after barely a minute.
Sometimes, when the performance is intense – you need to step back and let your audience comfortably come to the material. Rather than forcing them up close and SHOVING IT IN THEIR FACE.
To me this is the video equivalent of someone buying their kid an electric guitar – and the kid, who’s admittedly only a moderately good player – INSISTS on turning everything up to 11.
That’s me. Perhaps others will feel differently.
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So, are you a trained announcer?
Surprisingly, they call these folks “talent” because getting consistent good results at voiceovers actually does require that. Talent, I mean.
Otherwise at best you’ll get a superior recording of an amateur voice giving an amateur read.
Perhaps you are already an announcer. If so, carry on.
Or not. After all, I keep forgetting that this is the era when anyone who can afford an NLE is suddenly an “editor” – and anyone who can afford a camcorder is a “videographer” – so why shouldn’t anyone who can speak english be re-branded as a “voice talent.” Oops, I forgot this is America in 2010. And I’m failing to participate in the national “race to the bottom” where cheap trumps quality every time. I’ll try to remember that in the future.
I’ll go intone my new 21st American Century mantra even louder in penance. “Zippy equipment equals PROFESSIONAL. Human talent and effort equals what anyone on Craigs List will pay for it – including NOTHING – or maybe less.” I do this enough, and I WILL start to feel better. Right?
Good luck.