When directionality is not an issue and you need good pickup regardless of placement the easy choice is go with the omni. Lavaliers come in two flavors omnidirectional and cardioid. Stage productions use a blend of suspended overheads, dynamic boundary mics along the front of the stage, and flesh colored wireless headsets. It is normal to see shotgun mics mounted to cameras and booms. Most handheld microphones can also be mounted using standard clips and mounts that attach to stands, booms, and camera attachments. Which brings us to the different microphone types: handheld, mounted, suspended, boundary, lavalier, and wireless. The Rode VideoMic NTG Supercardioid microphone Paired with a condenser capsule and we end up with a sensitive directional microphone that makes it a must-have. It has an exaggerated hypercardioid pattern that provides excellent front pick up and good rejection at the sides and back. The shotgun microphone is a staple and darling of the video industry and for good reason. Polar patterns determine the microphone’s directionality or lack thereof. The microphone pickup patterns are the most important feature, as the pickup pattern decides whether the microphone is the right tool for the job. Condenser microphones are more sensitive because they utilize lower mass diaphragms that move more easily and pickup more sound. Dynamic microphones require no supplemental energy in the form of 48v Phantom Power. Additionally, large versus small diaphragms and matched stereo pairs. Other types and variants also exist such as ribbon microphones. The two most common designs are dynamic and condenser microphones. Microphones are categorized by their electromagnetic design, polar mic pattern and form factor. MicrophonesĪnother obvious but important factor when it comes to recording audio for video is microphones. The most important part is that your audio settings match those of the camera and vice versa at the start of the project. Videos shot or played at 60 fps are popular in video games and action cam videos. Frequently used rates are 24 fps for film, 25 for PAL, 29.97d for NTSC, 30 is common for YouTube videos. The FPS settings are ultimately decided by your target medium. Audio for video uses a sample rate 48 KHz rates at a minimum, with the option of 96 KHz. The last pieces of the synchronization are your audio project’s bit rate and frames rate (fps) settings. Provided both audio tracks use the same settings, more on that below. Use your DAW to slide the waveform images of the onboard and dedicated audio tracks until they align. Another is to use the audio from the camera’s built-in microphone as a guide. Possibly the best sync option to consider is recording audio to an external digital recorder. That basic method, or the more primitive version of a handclap on camera, has worked since the earliest days of the first talkies in the late 1920s. Today, we scrub by frame and align the audio and video at the sample level. To simplify the mating of sound and picture, Hollywood relies on clapperboards to simultaneously generate a loud audio “ clack!” and the filmed image of the two boards coming together as a visual cue to sync up the audio and video. How do you sync up the sound? For decades, in Hollywood, they recorded audio to tape and then synced to the picture in the editing room. Basically, write down any information that helps you remember and differentiate between takes, and helps create a checklist of work for later. Take down information like: time codes, take numbers, performance notes, edit points, etc. Detailed notes make everything easier during post-production. Scout ahead when possible, use directional mics and take lots of notes. This includes capturing environmental sound, room tone and dialogue. Often times, you don’t have a choice with location sound, but capture as much as you can. It’s better and easier to have the best recording environment possible. It results in time lost on noise cancelation, editing around sounds and adding overdubs. Poor location choices can haunt you for the rest of a project. When it comes to recording audio for video, great recordings begin in good environments. In this article, we cover everything you need to know about audio for video. The resolutions and sound fidelity on hand are truly impressive and make poor audio even more noticeable and harder to forgive. YouTube today is a long way from the platform we remember from the days of yore. Sound is equally important for video producers. George Lucas likes to say, “Sound is fifty percent of the movie-going experience” and not just because it helps sell home theater components branded with his proprietary THX Sound logo.
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