Jean-christophe Boulay
Forum Replies Created
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I’ve been a super-satisfied AudioNetworks client for a year or two and have hardly opened up SoundMiner to dig through the 3000+ APM and DW stock music CD’s anymore. We find almost anything very quickly, often with numerous instrumentation variations for every music piece. Usage rights are as they should be. This is not “royalty-free music”, it is a typical pay-as-you-use stock music collection. You get what you pay for, and that is usually true of any free audio found on the tubes. This is the real deal, for a very reasonable price compared to the competition.
https://www.audionetworkplc.com/
We were set up with a very friendly account rep, who takes care of any issue on the spot. If you don’t find a certain style you’re looking for, you can even write your rep about it and they’ll put a rush on to fill that gap. Superb service. I can say no wrong.JC Boulay
Technical Director
Audio Z
Montreal, Canada
http://www.audioz.com -
I just did a quick test with a small Mini DV camera I had lying around and that usually connects to the FW400 port on one computer. I plugged into the MP with an adapter cable and everything was seamless. Don’t take this as proof of anything, since the devices involved are not the same, but I’d imagine the adapter cable should work in your situation as well. I have trouble imagining a reason it wouldn’t.
As said above, considering the price of the cable it’s worth a try one way or the other.
JC Boulay
Audio Z
Montreal, Canada
http://www.audioz.com -
IF THE CLIENT BRINGS A VIDEO FILE WITH THE CC ALREADY ON ITS LINES UP TOP, YOU’LL ONLY NEED TO EDIT TO DIGIBETA AS YOU NORMALLY WOULD AND THE CAPTIONS WILL FOLLOW. IF HE’S BRINGING IN A BLACK MOVIE, JUST CROP EVERYTHING BUT THE TOP LINES OFF IT AND SUPERIMPOSE ON THE VIDEO BEFORE OUTPUTTING. IF HE BRINGS IN .CCA FILES OR THE LIKE, YOU’LL NEED EXTERNAL SOFTWARE.
FOR MORE SPECIFIC HELP, HEAD ON OVER TO THE CLOSED CAPTIONING FORUM.
AND WHEN SOMEONE GIVES YOU ETIQUETTE ADVICE, why not heed it.
JC Boulay
Audio Z
Montreal, Canada
http://www.audioz.com -
If you take out another mic to tape ambiance after shooting your dialog, I would absolutely love mixing your stuff! Your mixer is lucky.
Most of the time, if we get separate ambiance sound or room tone, it’s recorded with the same shotgun mic as the rest of the audio, which usually results in thin, phasey-sounding ambiance.
The ideal mic for ambiance would be stereo, but any omni-pattern mic will be a lot better than the shotgun mic. I can’t really recommend a particular omni model, though. When I’ve taped outside interviews, some of the best results I’ve had were by recording ambiance with a handheld stereo recorder from the Sony PCM range. Mixing that in put some life into the audio. Laying mono ambiance into a stereo (or even 5.1) program is a little silly anyways.
Another advantage of recording ambiance to a separate recorder is there will be no setup changes and the mixer can ingest them separately, not having to go through all the production sound to find the ambiance takes.
So my personal preference is to get stereo ambiance separately, but just changing the shotgun mic for an omni would already make a good difference. I really don’t see a need to change mics between inside and outside shoots.
Oh! and no, “atmosphere” is not the word used this side of the pond for what you describe. It would be ambiance or room tone. “Atmosphere” would be a sound created synthetically and relates more to the music track.
IHTH, good luck on the shoot.
JC Boulay
Audio Z
Montreal, Canada
http://www.audioz.com -
With all due respect, you’re doing it all wrong. Eliminating any headroom at the first step of your mixing is the worst possible thing to do. And after stacking your vox to 0dB, you pile in some other stuff? You should be mixing with a minimum of 10db headroom at all times and keep things under control with compressors and limiters throughout the signal chain. Once you have a final product, you can then master it to the level your delivery medium requires.
I can’t say without hearing the result who is right in the argument, but from the description of the mixing workflow, there is probably something wrong with the end product. It might well be usable, but it isn’t by the book.
JC Boulay
Audio Z
Montreal, Canada
http://www.audioz.com -
Just chuck your audio into Soundbooth as mono and bounce the resulting project to stereo interleaved or split stereo, depending on what you need for the laybacks. Don’t do anything like trying to use “mono-to-stereo” effects or plug-ins or putting the same audio on two tracks and panning them. That opens the possibility for many headaches later on, while usually sounding like total cr@p.
Your final file will contain mono sound in a stereo file. You won’t gain any spaciousness and you couldn’t possibly gain that anyways, since you only recorded with one mic.
As for levels, you’re opening a nice big can o’ worms. What will your delivery format be? Will it be broadcast? If so, where? Depending on the answers to these questions, your delivery levels can change by as much as 20 dB, so you’ll need to be more specific.
IHTH
JC Boulay
Audio Z
Montreal, Canada
http://www.audioz.com -
Words of wisdom, Bob. That’s basically how I developed my expertise in audio systems, so it’s no big change, then. I’ve been reading manual after manual and setting up some video equipment obstacle courses for myself and learning plenty. The VTR manual has been assimilated, the Kona’s is next and my girlfriend is starting to think I’m way too enthusiastic about this stuff.
Thanks to all for the suggestions, I now have a good reading queue.
JC Boulay
Audio Z
Montreal, Canada
http://www.audioz.com -
That’s pretty much a description of my nights at home these days.
Sony sure know how to write a boring manual. Maybe the original Japanese is better?
Thanks for the suggestion, throw ’em at me if you have more.
JC Boulay
Audio Z
Montreal, Canada
http://www.audioz.com -
That could use a small room reverb send and some room tone mixed in the background. EQing some of the bass out will make the mic position more believable, as this sounds very close-mic’ed. One often overlooked but very important thing is foley. You don’t have to do too much, just recording a few clothes movements to mix in faintly with the dialog. Just a tad of foley can really help gel things together when you mix in your hard effects. When mixing in foley, when you start hearing it, just pull it back a little.
JC Boulay
Audio Z
Montreal, Canada
http://www.audioz.com -
If you want a true megaphone sound, modeled using impulse responses, you want Audio Ease Speakerphone. Of course, it’s one big tool which will give you waaaaay more than megaphones, but it’s unbeatable, IMO.
https://www.audioease.com/Pages/Speakerphone/speakerphone.htmlI’m not sure what plug-in formats Soundbooth accepts, but Speakerphone is available in VST, RTAS, AU… should cover all bases.
JC Boulay
Audio Z
Montreal, Canada
http://www.audioz.com