19 blog posts found matching keyword search for: Audio Boom in Antioch
K-Tek, known throughout the professional audio industry for its rugged and lightweight microphone boom poles, accessories and audio equipment bags, hosted location audio professionals to an open house and seminar at K-Tek’s Vista, CA headquarters. Get an inside look...
Recording excellent field audio is not a mystery. It's achieved through proper planning and execution of the sound parameters you decided on before the actual production starts. That said, getting the right audio gear for the field is an important part of the production process.
Filming is a two way street: you’re not only capturing an image, but you’re also recording dialogue, background noise or some other type of audio that helps to bring your visuals to life.
Making any kind of film is time consuming and expensive. A large part of the cost comes from buying, or more realistically for a student crew with just a handful of people, renting high quality equipment. Not least because insurance could make the rental prohibitively expensive.
If I had to pick one constant among independent film festival submissions it would be unintelligible dialogue. The cause of desperation of every director; the bane of every mixing engineer’s existence; the source of suffering of your friends and family, forced to go through a whole movie they don’t understand because the actors’ words simply can’t be heard. This and many other nuances of your film’s sound are the victims of a few often overlooked details, which in turn result in the delivery of a subpar soundtrack, driving your audio post team insane and wasting production money. Good news is these mistakes can very easily be prevented. You can start by tackling a few key issues often associated with your role.
Picture this, you get home from a grueling shoot and realize to your red-faced chagrin that you have absolutely nothing to work with. The audio is shoddy, the shots are overexposed, the focus is wrecked... Whatever it is, you’ve botched the project and you may never get a second chance to fix it.
With a career that spans back to his days in recording more than a decade ago, Production Sound Mixer José Frías has long-held a love for the audio industry. Although he got his start in music, he’s held many different audio production roles, which has led to his working on projects for high-profile clients, such as Motorola, IBM, ESPN, Time Magazine and more.
You might think video production is all about, well, video, but sound connects an audience to what they are seeing. It adds emotion, supports the visuals, and every edit cut and it defines the overall mood and tone of your narrative.
Get insight from our exclusive interview with sound designer, Ed Kaufman on life as a post production pro, tips on how to best make dialogue, music, and audio pieces all fit together and more!
Over the last three decades, I have served as both a Camera Operator on various shoots in San Diego and as a Video Editor. It is good to have experience in both realms because as an Editor you know what to shoot, and as a Shooter you keep in mind all the shots that the Editor will want. “Tape is cheap” is an adage popular during the digital tape days meaning that the camera operator shouldn’t feel constrained about shooting a lot of footage. Strive to be the camera op whose every clip is usable.