Recording - December 2011 - 46
When Auntie Nellie and Uncle Fred shoot videos of meaningful moments in their lives, it’s all about the images. As they stand on the upper deck of the cruise ship praising the unlimited buffet, who cares if the wind noises obliterate their comments because they didn’t bring along a wind screen for the camera’s built-in mic. It’s the happy expressions and the ocean views that count. Look how blue the water is behind Fred’s Hawaiian shirt! When musicians make videos, it’s at least as much about the sound as it is about the pictures. In a “creative” video, grainy images, lo-res faded colors and in-and-out-of-focus sequences can look cool. But if the sound isn’t pristine, then the video stinks. Even if it is not a “music video” but, say, a promotional video about your studio or your services, or something for a client, you want the audio to be as good as it gets. Audio for video—for musicians But that’s easier said than done. The built-in mics on consumergrade cameras usually don’t make it. You’ve seen, I mean, heard it—on YouTube and elsewhere. There are things you can do to help your internal camera mic along, but that’s an article for another day.
You can buy an outboard stereo mic and connect it to your camera’s audio input. Or you can get a separate audio mixer or a feed from the gig’s live board and bring that into the camera’s audio input. That may or may not help, and it’s also a topic for another day. Or you can place one or several wireless mics where you get the best sound, and a lavalier mic on whoever is speaking. Anyway you cut it, when it’s an important project where sound really matters, plan to record the audio for your video as well as you do when it’s an important recording session, and match that audio with the video in post production. Nowadays that’s easier than it used to be, and since we just did a whole lot of this, we thought we’d share how we did it. Things have changed—in your favor Once upon a time, audio for video was a dark and esoteric practice, requiring specialized and expensive equipment and a deep understanding of the mysteries of time code, drop frames, and other such occultism. Then came native video processing powered by software such as Apple’s Final Cut Pro and Adobe Premiere. Native DAW software put the power of a 1980s-era mega recording studio in anybody’s lap, and shortly thereafter the same thing happened for video.
Final Cut Pro makes it easy to align audio and video in a project. In this picture, from top to bottom, we have the video tracks, two tracks of audio from the camera’s built-in mic, and two tracks of audio from Pro Tools.
46
RECORDING DECEMBER 2011
Recording - December 2011
Table of Contents for the Digital Edition of Recording - December 2011
Recording - December 2011
Fade In
Contents
Talkback
Fast Forward
The Great Gear Grab-Bag!
Electrons Take On A David Lynch Production
Software And Soundware And Then Some!
Radial Engineering PowerPre and Komit 500-Series Modules.
How To Be Successful In Today’s Music Business—Part 2
Zoom H2n Handy Recorder
Guerrilla Audio For Video
Equator Audio Research D5 Studio Monitors
iOS Music Tools: 2011 Holiday Treats
Readers’ Tapes
Advertiser Index
Fade Out
Recording - December 2011 - Intro
Recording - December 2011 - Recording - December 2011
Recording - December 2011 - Cover2
Recording - December 2011 - 1
Recording - December 2011 - Fade In
Recording - December 2011 - 3
Recording - December 2011 - Contents
Recording - December 2011 - 5
Recording - December 2011 - Talkback
Recording - December 2011 - 7
Recording - December 2011 - Fast Forward
Recording - December 2011 - 9
Recording - December 2011 - The Great Gear Grab-Bag!
Recording - December 2011 - 11
Recording - December 2011 - 12
Recording - December 2011 - 13
Recording - December 2011 - 14
Recording - December 2011 - 15
Recording - December 2011 - 16
Recording - December 2011 - 17
Recording - December 2011 - 18
Recording - December 2011 - 19
Recording - December 2011 - Electrons Take On A David Lynch Production
Recording - December 2011 - 21
Recording - December 2011 - 22
Recording - December 2011 - 23
Recording - December 2011 - 24
Recording - December 2011 - 25
Recording - December 2011 - Software And Soundware And Then Some!
Recording - December 2011 - 27
Recording - December 2011 - 28
Recording - December 2011 - 29
Recording - December 2011 - 30
Recording - December 2011 - 31
Recording - December 2011 - 32
Recording - December 2011 - 33
Recording - December 2011 - 34
Recording - December 2011 - 35
Recording - December 2011 - Radial Engineering PowerPre and Komit 500-Series Modules.
Recording - December 2011 - 37
Recording - December 2011 - How To Be Successful In Today’s Music Business—Part 2
Recording - December 2011 - 39
Recording - December 2011 - 40
Recording - December 2011 - 41
Recording - December 2011 - 42
Recording - December 2011 - 43
Recording - December 2011 - Zoom H2n Handy Recorder
Recording - December 2011 - 45
Recording - December 2011 - Guerrilla Audio For Video
Recording - December 2011 - 47
Recording - December 2011 - 48
Recording - December 2011 - 49
Recording - December 2011 - Equator Audio Research D5 Studio Monitors
Recording - December 2011 - 51
Recording - December 2011 - 52
Recording - December 2011 - 53
Recording - December 2011 - 54
Recording - December 2011 - 55
Recording - December 2011 - 56
Recording - December 2011 - 57
Recording - December 2011 - iOS Music Tools: 2011 Holiday Treats
Recording - December 2011 - 59
Recording - December 2011 - 60
Recording - December 2011 - 61
Recording - December 2011 - 62
Recording - December 2011 - 63
Recording - December 2011 - Readers’ Tapes
Recording - December 2011 - Advertiser Index
Recording - December 2011 - 66
Recording - December 2011 - 67
Recording - December 2011 - 68
Recording - December 2011 - 69
Recording - December 2011 - 70
Recording - December 2011 - 71
Recording - December 2011 - Fade Out
Recording - December 2011 - Cover3
Recording - December 2011 - Cover4
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