28 blog posts found matching keyword search for: Microphones in Newark
Pro Videographer & Editor Bradford Hill has had a lot of experience shooting events, music videos & interviews across the nation. His project require crisp sound with clear settings. When Shure shipped both their VP83 LensHopper™ mic and the VP83F LensHopper™ mic straight to ProductionHUB Inc., Hill hooked them up on both the Canon C100 and Canon XA25 to see just how sound these mics truly are.
Reviewed by Chris SanchezAKG recently sent me a pair of their new 451 ‘65th anniversary edition’ models as well as a D12VR to evaluate in studio. While not strict re-issues per se, these beautifully made microphones combine vintage and modern features to continue the legacy of these two great product lines. AKG introduced the original D12 in the mid 1950s, and it has been a favorite for kick drum mic’ing for decades. The 451 has a similar lengthy history, with that series debuting in 1969. AKG 451s have for decades been staples in music recording studios as well as on film sets and foley stages.
DPA Microphones is delighted to have played a key part in capturing the sound for this high octane movie. Award-winning Production Sound Mixer Ben Osmo chose the company's d:screet™ 4063 Miniature Microphones with low sensitivity and low voltage to record dialogue during the shooting of action scenes that involved fast, furious and bumpy chases across the Namibian desert. He also used DPA d:screet 4062 Miniature Microphones with extra low sensitivity for cabled recordings of various vehicles, and these were held firm inside each vehicle by DPA magnet mounts.
This fall, audio professionals from all around the world convened at the 141st AES Convention in downtown LA to check out the leading-edge audio technology and gear of 2016. Not only was the Los Angeles Convention Center jammed with countless exhibit floors, but there was also a myriad of seminars where attendees gathered to gain insight on these new developments. Some of the highlights included VR/360° audio microphones, virtual microphones and ground-breaking audio plug-ins that now change the way engineers can mix, master and record.
When the critically acclaimed action film Baby Driver hit the big screen, audiences got to experience a number of heart pounding, in-your-face motor vehicle sound effects courtesy of Sound Designer/Composer Watson Wu. In order to capture the pristine vehicle sounds, Wu, long regarded as one of the industry leaders in field recording, relied on his trusted equipment from DPA Microphones. He answered a few questions about working on the film and how he got the sounds just right.
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.
By: Ian Cohen With all the technology available, and what I refer to as “Redundant Device Syndrome” or RDS for short, it is a wonder that anyone ever talks to each other. Most eyeballs are almost constantly glued to screens big and small (including my own), and it often feels isolating, distracting, and counterproductive. This phenomenon is apparent everywhere you look, heads down not looking forward, fingers flying and tapping buttons and keys. Our minds are ensnared by this new age of technology and ease of access of information and entertainment. I’m guilty too.
Adding music to a film can add power and interest to the production. And when the music is an integral part of the story, the power is multiplied. Filmmakers, creative editing company editors and sound engineers need to work together to realize the full advantages of using music in their film.
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.
A review of DTV Audio Group's 2013 AES programby Chris SanchezThe DTV Audio Group is a trade organization whose mission is to help the industry meet the potential of digital television audio. Its membership is comprised of "network operations and technology managers and the engineers and consultants who support them. At the 2013 NY AES show, DTV A/G held a 5-part symposium that examined some changes that we can anticipate in the broadcast-audio landscape in the coming years.