[Ty Ford]

Hello Jaanus and welome to the Cow Audio Forum.

What’s a discourse and in what sort of space is it?

You are not likely to be happy with a shotgun mic at a distance of more than 18 inches. Microphones are not like zoom lenses. This is very likely why you haven’t been able to come to a decision by yourself. 🙂

Regards,

Ty Ford
Cow Audio Forum Leader

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[Ty Ford]

Hello Anthony and welcome to the Cow Audio Forum,

I’m thinking maybe you did something in FCP. Which version are you using?

Regards,

Ty Ford
Cow Audio Forum Leader

Want better production audio?: Ty Ford’s Audio Bootcamp Field Guide
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[Ty Ford]

or someone with language skills to rewrite a sentence or two to make the gestures match the audio……..

Regards,

Ty Ford
Cow Audio Forum Leader

Want better production audio?: Ty Ford’s Audio Bootcamp Field Guide
Ty Ford Blog: Ty Ford’s Blog

[Ty Ford]

Johannes,

Yes, I think you’re right.

I did the VO in English and had two other VO people come into do French and Spanish for a DVD about glaciers. It was an hour long show. I budgeted an 8 hour day for the record session for each language. After each page, when I went back to do the rough edits, I let the talent listen to make sure they didn’t mis-speak because I don’t speak Spanish or French.

Not as big a project as yours on the one hand, but plenty to do.

Regards,

Ty Ford
Cow Audio Forum Leader

Want better production audio?: Ty Ford’s Audio Bootcamp Field Guide
Ty Ford Blog: Ty Ford’s Blog

[Ty Ford]

Hello Johannes and welcome to the Cow Audio Forum.

I have “read to pix” before as a narrator. This was VO so lip sync was not an issue. I can’t imagine that lip sync will work out in any way with you project. If I’m missing something please let me know.

The producer in another project had timed out the scenes, but forgot to include some breathing space at the beginning and/or end. That resulted in the VO being too close together at those start/stop points.

So if the scene is, say, 20 seconds, consider having the VO be 19 seconds to allow half a second gap at each end, if that will be enough.

Doing the process with audio and video will allow you to make sure the pacing is not altered.

How long is your piece?

Regards,

Ty Ford
Cow Audio Forum Leader
(and narrator)

Want better production audio?: Ty Ford’s Audio Bootcamp Field Guide
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[Ty Ford]

Ryan,

Ah, yes, well when can I expect a QSL card? 🙂

OK then, as a Ham, you know about frequencies. Wireless mics operate on either VHF or UHF. Provided no one or nothing else is there to interfere, you’re fine. As you may know, VHF may travel a bit farther than UHF due to its longer wavelength.

I’ve had the interference from a smartphone on the hip of a speaker take my range down to less than a foot. Without a site survey, it’s difficult to tell what other frequencies are in operation. I’ve been in venues where my wireless wasn’t working, only to find the house system was left on and its gear was destructively competing with mine.

Antenna orientation is sometimes an issue, which is why diversity antennae and dual receivers were invented. I also move my receiver as close to the talent as possible and cable back to my mixer, or in your case camera. Probably not Ideal for you if your receiver only has an unbalanced output due to the increased potential for interference.

Again, impedance is usually not a problem. In today’s gear, as long as the output impedance of the mic or wireless receiver is below that of the input impedance of the preamp or camera and most are.
The old days of 600 Ohm to 600 Ohm Telco are over. 🙂

Regards,

Ty Ford
Cow Audio Forum Leader

Want better production audio?: Ty Ford’s Audio Bootcamp Field Guide
Ty Ford Blog: Ty Ford’s Blog

[Ty Ford]

Hello Ryan and welcome to the Cow Audio Forum.

Without knowing the cause of your static, it’s a little difficult to suggest help. Sometimes poor mic placement is blamed on bad reception. Sometimes if the speaker is wearing a smart phone, even if it’s on standby, range can be negatively effected.

The AT mic is a mono mic. The 3.5mm mic input on your camera is a stereo input. The are not physically compatible. This could also have caused static. How did you connect them?

The impedance thing is not an issue here. Correct plumbing (which could be a simple cable) is.

Sampson and Nady have never impressed me with their wireless. The AT might actually have been working correctly. If not I’d skip the others and go to a Sennheiser G3.

Regards,

Ty Ford
Cow Audio Forum Leader

Want better production audio?: Ty Ford’s Audio Bootcamp Field Guide
Ty Ford Blog: Ty Ford’s Blog

[Ty Ford]

Good one, Peter!

We used to use sand filled rectangles as turntable bases in radio stations over here for the same reason.

Regards,

Ty Ford
Cow Audio Forum Leader

Want better production audio?: Ty Ford’s Audio Bootcamp Field Guide
Ty Ford Blog: Ty Ford’s Blog

[Ty Ford]

Desiree,

“So the sound, as far as I can tell, is just normal office noise – copy machines, footsteps, loud people.”

OK, here you go.

The idea is to present a barrier of Density-Isolation-Density (D-S-D) to reduce the transfer of vibration.

First, the easy solution. Floor traffic: Carpeting or floor mats on the other side of the wall.

Second, loud people and copy machines. Foam on walls won’t do it. You will get some loss if you foam the office side of the wall, but not enough to do you any good.

You can heavy up the original wall by putting Acoustilead on their side of the wall. Then cover that with a layer of of foam normally used under wall to wall carpet. Then cover that with 5/8″ sheet rock in such a way that the bottom of the sheet rock sits on a lip of lip of excess carpet foam at the bottom of the wall. That way, the sheetrock will be isolated from the floor.

If you need more, construct another sheet rock wall of density and keep it isolated from the original wall. It should be built on the office side to prevent the sound from hitting the original wall. The sill plates should be isolated from the cement floor by rubber mats or Sorbothane pucks. If you drill through the sill plates and into the cement floor to bolt it in, you’ll be conducting sound from your new wall to the floor and under the old wall to your own space. So try rubber gaskets between the bolt heads, the sill plates and the bare floor.

Any questions?

Regards,

Ty Ford
Cow Audio Forum Leader

Want better production audio?: Ty Ford’s Audio Bootcamp Field Guide
Ty Ford Blog: Ty Ford’s Blog

[Ty Ford]

Hello Desiree and welcome to the Cow Audio Forum.

You’re sort of jammed up here. If they didn’t do the walls, they also probably didn’t do anything right with the overheads and you may well have sound coming over the top of the walls as well, not to mention what’s traversing a (probably) concrete floor.

Without knowing exactly how bad the problem is and what’s causing it, it’s a little difficult to prescribe a solution. Where in the world are you?

Regards

Ty Ford
Cow Audio Forum Leader

Want better production audio?: Ty Ford’s Audio Bootcamp Field Guide
Ty Ford Blog: Ty Ford’s Blog