Steven Beers
Forum Replies Created
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Shane,
I am trying to jump into a P2 workflow, and have a Powerbook G4 to transfer to. What software are you using? It doesn’t look like the CMS software is Power PC compatible. Do I need to get Shot Put Pro? -
I have been recording orchestras for almost 5 years now. If you want a great harp sound, stick a large diaphragm condenser about a foot to a foot and a half away from the sound board, about waist high for the player. You would be amazed at the clarity you can get. I love Neumann’s, and TLM series are always good. If you need something cheaper, I’ve heard a AKG 414 or a AT 4033 do great things too. Obviously every harp is different, and each situation unique, but that it where I would start. Try moving the mic around and find the sweet spot. The soundboard puts out the bulk of the energy, so keep it pointed at that, but other than that, it’s all about experimenting. Enjoy.
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Well, that didn’t bring up the option I was looking for, but purging the memory every 100 frames fixed my problem. Thanks.
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Ok, I am having this same issue on a video that I am trying to render now. I read this post, then looked at the manual, and it says that the prevent dll memory fragmentation should be checked. Problem is, I don’t have that option in my Memory and Cache preferences dialog. I’m going to try to upload a picture of my settings. I up-ed the Maximum Cache size to 70% to see if it would help, but it lives at 60% the rest of the time. Did they move the “prevent dll memory fragmentation” to another spot, or is there a reason that I don’t see it? I’m done with my video, and I can RAM preview it and scrub through the entire thing, but when I try to “Make Movie,” it gives me the same error that “Old Man..” is talking about. It doesn’t freeze at the same spot either, always around the same area, but different sections of it. The section it seems to be freezing on is a pretty big pre-comp, but it’s not that dissimilar to what has worked for me up until yesterday. I’ve tried looking through the camera settings and making sure there is nothing erratic going on, but it seems pretty clean. I’ve also made sure nothing has Motion Blur on (don’t need it, it’s just a really slow pan across some concrete), and I even turned the Blur amount in the camera to 0. I’m out of ideas, any help is much appreciated. Thanks guys.
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Oh man, I totally forgot about SmoothCam. Thank you for reminding me I’m still a newbie. 🙂 To be honest, the client was happy, and I already turned in the project. This is really me going back and learning a workflow if I need to do this in the future. I’m doing it in AE right now, but I’ll go back and learn about that too and figure out which one is better! Thank you so much.
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Yeah, after I figured I could stop time then start it again, but I have a day where I’m waiting for an approval, so I figured I’d try to do it cleaner than that. Thanks for the answer, I’ll probably do it your way.
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Aaron,
It will be sad to not see more tutorials from you, but it is the greatest decision you will ever make. I have just found the cow earlier this year, being a new company who has to find answers to problems from people like you. I have so many old tutorials of yours to still go through, but I have loved every one of them so far. Thank you for all you have done, and best of luck in the future. -
If she is stationary and sightlines are not an issue, definitely go with the 4050 in front of her. Keep her AT LEAST a foot away from the mic. Engage the pad if she is like most Opera singers, because she can distort the capsule without much effort. I’d keep it a little below directly on axis with her mouth, and point it up at her as she sings. This will keep the breaths and direct bursts on the mic to a minimum, but still give you a great clean sound.
As far as the piano goes, most condensers can get you great sound. Shure makes their KSM series, which are surprisingly nice and round on a piano. 414’s are great, and 4033’s can be very nice too. It’s like Peter said, there are a thousand different ways to do it. If you could get yourself a pair of Neumann U67’s, you would have a Piano sound that would floor you. If you don’t get that luxury, then start figuring out what you have, use your ears to place the mics you have in a good spot, and keep the signal clean. You will get a good sound.
P.S. While you are searching for ORTF, also look up a Decca Tree for the room, or M/S recording on the Piano. All very very cool techniques.
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I have come up thru the audio industry and migrated my way over to the video side of things. I worked at a post production house in Boston, and learned a lot about workflow. Don’t be so sure that on some movies they may ADR everything. We spent 3 days recording the telephone message system for Logan international airport. If someone has the time and money, they will do anything!
Lav mics are definitely the way to go. Boom mics are good, but they are going to always give you the problems that you talked about. Even the best mics will pick up room sounds around them. They don’t know what they are supposed to be picking up, so they get anything that is in the vicinity. If done properly, they can be very natural, because that is how you hear things in real life. A lot of those “reality” shows use lav mics. You frequently see them on the characters’ belts when they bend over. There are no deep dark secrets being hid from you, just a lot of experience by the engineers working through problems they see day in and day out.