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Shoot: Noir Audio Part 1

right now we're going to cover audio which is probably the part that a lot of you were a little bit of afraid of yesterday in detail we talked about how to select the tools that would be best for the type of work that you d'oh so we're going to show you in this situation how we would record audio of him speaking reading his lines also how we would get what I called detail sounds is that what's really called but I'm thinking detail shots right idea uh him on the typewriter and hang up the phone and things that would add an extra dimension make it feel a little bit more movie like instead of just his voice on dh then also while this is going on jeff's going to be in charge of the audio I will still be recording because I can get close up shots of his lips and that's great to mix in all right so so I'm gonna have him read the whole script over okay I'm gonna make him up I'm going to show you guys a couple of deer that we're gonna win that using and why were you using them for audio and th...

en I'm gonna coax to coach him through the whole script okay I love the tonality of his voice but he sounds like me he's very monotone so I'm gonna get him to speak very very uh just different vocal he was over in the corner watching like on the computer like film noir stuff they could feel like that e I love that so we discussed yesterday we're using to task him dear sixty okay it's feeding into live once it starts recording out to creative lives are all of you can hear what we're hearing out of here we're going to be using our lab mike's today which the last line we're gonna have to clean this audio for him unfortunately lab mike's I can see it pinned on him and if I'm recording him I don't want to see this unless I'm in an interview session or I'm teaching on creative life or I'm super close off which is what I should so whenever we're doing something like this where someone has to be loved up and we do want to interject a little bit of the typeface shots and I just make sure the angle in that it's either blocked or maybe he has his hand up or something so I can't see it so he's wearing about the audio because honestly whoever's doing the audio needs to worry about the audio not be distracted by other things so that I'm just making sure I can't see that left so working working with a partner while working on set now right so if I was a one man band you would see me like our creative live camera crew here with a camera headphones and a bunch of other things on me but as a photographer that just seems it's a little weird because you're not used to all these different things that you can basically divide your day into doing one and then the other once you get into into doing both then by all means you can start kind of doing it on the fly but right now I try to learn how to use your equipment effectively learned how to use what you need to do to shoot or to shoot your specific set and then I compile everything in editing today I'm gonna show you guys a cheap way of doing things I say chief somebody on the chat room said something about six hundred fifty dollars but for the lab likes but I'm gonna multipurpose them teo record ambient noises throughout the set which is things that we've done in the past and I d'oh I asked around so okay uh yes sure we talked about you have shotgun mikes you have on the mikes and laughs those were like the three that we would really use okay well lab mice we have here are the sun visors and so if you're looking to buy a mike the best quality or like the sennheiser just like a couple of the ones but really it's sennheiser and then wrote road makes him good ones all right so anyway these air like six plus hundred dollars and so I went around and you know what I did my research I found out that was the best which is why I bought it so I went and I asked all the audio text here and there are a lot of them and I said okay what what is you know a less expensive really good brand and they're like sennheiser so granted you khun do research and find another solution but really you pay for what you get for what you get what you pay for it but I put a link up on my block which is blocked that lyndsey other photography dot com it's the first block post if you want to go on the cheap like seriously on the chief um you can actually use your iphone with an adapter to pick up pretty darn good audio and so it wouldn't be laughing if you would really be able to use a shot you would hold it here but I was talking to my friend lyla this morning and she said okay I know what gear I want to get with that those mikes it's really expensive and so I said well if you're not doing words at the same time as the visuals than you can find the less expensive solution to go for that and rust yesterday we're talking and he said that to some chat in the chat rooms on this one woman said you know six fifty's pretty pretty expensive but is my granddaughter's voice worth six fifty and she goes I think it is so that was really interesting in other words if you're going to do this just like for fun and tested out maybe you just make through the adapter for your iphone if that's what you want to start basic but if you this is like something you really want offer your clients high quality it's the same thing is going with like a really expensive inexpensive lens vs high quality that's going to pay for it twice basically you're gonna want to do the upgrade to the one later on so you just it was like a deposit you wanna call it that you just spent money on one just to get the other to cost I'm gonna go ahead and might come up I'm not going to do it through his shirt for right now in general you wanted it through somebody shirts you don't visually see it to say I'm going teo you don't see ours you see the little clip and its statements to the back here just because he's already dressed up I'm going to make sure that it's out of frame for lindsay because you're going to be shooting around set you wanna discuss that a little bit while I might come up yeah um while while he's recording audio I'm going to be moving around seeing what shots that I can get so we could kind of stick it in there cut it cut it into the final edit but try not to see that mike so that's actually what we usually do so the grandfather video that's exactly like he might come up you got everything right and then I was just trying a whole bunch of different angles so that I could cut in for that um jeff is going to break down what this is but if you guys don't mind I'd like to do like a little recap real quick of yesterday of the solutions you have so for audio one solution you have is an on camera solution which would be the least desirable you never ever ever wanna record from your actual camera meaning like the little holes on the front it's it's awful audio but if you don't have another solution a road video micro there liza little makes that go on the top of your camera and they plug into the side so your camera is the recorder at that point it's okay now it is not great but it's definitely better the promise their little shotguns so you just get what straight ahead in front of the camera you don't really have control over it so if there's noise right behind him it'll pick it up like there's just really not that much flexibility with it but like I said it's better than nothing for sure okay so then the next step up that you might have something called a pre amp so this is actually recorded and pre amp in one but basically a cramp is a box that you would may be attached to the bottom of your camera and so there's juice link and beach tech and so if you had an on camera solution maybe it's not the road mike maybe it is a another mike you get like the anti g not the road video but like a bigger one so what it would do is it would put it into the pre amp and then to the side of the camera with the print does that basically improves the quality it improves the quality that would have connected into your camera crews I'm improves the signal just makes it better and it gives you some control there's dialogue you could uh you know increase the game you can actually plug in your headphones you can listen to it the mark to for example doesn't even have headphones so if you wanted to you know have some idea of what you're doing you would actually need a pre amp if you're actually recording directly into the camera otherwise you're out of luck it's the next step up from the pre amp and what most people it's recommended is an extra recorder it's not on camera it's not being recorded into the camera the camera can't actually contain that much audio but that you're feeding into it it's not really made for that you have an ex children recorder and honor in our class is shooting on our block we listed a couple that we recommend it's what you do is you have your camera going the audio that the cameras recording is just for reference like it's just so that you can link it later that's what you do the clap so you can see a spike in the audio and link up what you've recorded separately so we would have separate recorder and that could either be hooked up with a laugh like so that two of those could talk or it could be a road mike and that's what we have are a shotgun mic road is the brand shop kind of its height so if you look here we have a road mike and it's hooked into an external recorder jeff talked about his pacific set up yesterday the reason he selected this is theirs either one or two of us and so that's a separate person uh holding the audio pole so we're trying to avoid that so that's why you have an external recorder it's much better quality cd quality audio so the combination between the recorder you select and the mic you select determines the quality of the audio if you were doing something to ended up doing that they replicate old vintage movies we discussed that before they they would use let's say something like nt g two they couldn't leave it still because since they're replicating movies they're constantly moving around trying to track their subjects so this specific unit wouldn't be or the specific stand would it be for them they want somebody to sit there with the audio equipment moving with them for us for today if this is a static portrait session and you just want video that works perfectly I never have to move that and she doesn't know I don't have to hurt my arms or you know get cramps trying hold that thing up there so the last step so I talks about on camera feeding into the cameras cameras the recorder and then you have a pre empts at least improve the quality of that signal then they have an external recorder so we have is the fusion of the two so it's a task cam d r sixty d so what it is it is a pre empt that can feed back into the camera and its own external recorder so you have a pretty decent um audio feeding into the camera but you have your you know radio seed equality high quality being recorded into this extra recorder what the benefit is that that I'm not like you know trying to figure out what to do with the accident recorder it's another awkward thing you don't have to also have a pre empt their it's everything all in one so when you actually look at it what you would do is you concede a cord into the camera so that the camera's getting audio and that's based on the pre emp idea from it and whatever your mike is it's feeding into the pre amp and recorder and it's recording and you have the little dials where you can the whole time honored the audio so as I'm speaking you can actually see I don't know if you guys can get a shot of that but as I'm speaking you can actually see the level's going up and down and there's a little marker on the right which is what you're aiming for you don't want to go over that and so it's a pretty awesome system all in one um what kind of car is this use just sd cards the what you're hearing right now and you're seeing the live view of that can you say hello that's actually him like that and hear how loud she has to get in order to see any movement here so unless you can't hear me like you can't hear me whatsoever I'm subsonic so you'll never be able to hear me here but you can hear me no problem so that shows you the distance that that actually records it's very very small distance it's like forty eight forty eight inches and another note this would be something that you would need for depending on what recorder you get if you're doing multiple mikes and what you can actually do is instead of like some systems will let you have two mikes but it's all recorded on the same track which means if he's coughing and hacking on one track can't get rid of it you're stuck on this particular recorder the different mike ends go under separate tracks so you could separate that out which is absolutely a benefit or you could have one that's recording his voice and another getting ambient overlay so right now it's going into there's different channels on there so you have one two three and one two three so you have levels for each and every one of those one right now while you have one too so one is left to his right and three and four okay so you have the difference of right now if I was listening to his audience he speaking I only had a hear out my left ear that's it because that's the track that's going in we have one might going in if I were to link oh our student record lindsay and him and she was in line to he would be on my left she would be on my right and I could put the two and post together and just kind of manipulate that why you'd want that just basically having the object into two different that's okay let me rephrase that teo record two different people at one time said do like our everyday conversation so I want to make sure that I can hear him as clearly as possible so he's miked up can you say hello one more time hello okay sue um do me a favor do me a favor try to say hello but aggressively hello okay he's not reaching our peak mark we talked about that yes sir that little green mark anything past that he's completely blown out and I can't fix that that's the peak okay it's set to negative twelve decibels you currently have it right so all I have to do at this point is make sure I can hear my levels I conventionally see them there goes my visual cue I can see the marker here but I'm not hearing anything right we talked about headphones and most important part of audio my headphones are actually connected to that specific unit to put these on you know what I'll take this back do you want to put these on you to come with me laughing is that what you would get them to do because it would most likely be the loudest point that they would be out in the piece or would you be too low it I would say that lot like for him right now I don't have to make him laugh you were in a corner by yourself listening to noir stuff see how is that it wasn't it didn't peak so you're fine okay I was like I don't have to make him out it's actually pretty good how are you today you know that one's fine and how do you sound there dave how do you hear his voice do you hear me in the background see he can't even hear may I could hear you a little bit but he's by far very very dominant okay when I listen to those of you that wants to be all listening outside you'll get to hear I'm gonna I'm gonna do that one more time he needs me favorite do you have your script there yeah can you read me your first line and just quiet on set it was a cool october night mishap tonight my spanish with the missus fitting spent most of my nights with my what you love justice what do you here aside from him really almost nothing nothing right that's if I need anything fixed in regards to audio or seem if I want to lay down a nice clean track of him speaking this is what I would use these air the last mike's um as opposed to you had heard this you know what dave do you mind switching with her for two seconds so that way and tell me the difference that you hear between to read me your first line again I remember like it was yesterday it was a cool october night type not you do want to spend with the missus fitting since I spent most of my nights and my true love justice very very different wouldn't hear the other one had echo and it had had the buzz buzz was really you could hear it really really easily this one has no buzz at all that's great I'm important point I'm teaching but I'm gonna raise my hand okay so definitely a downside why somebody who's in the film industry mate say don't go with your modeling lights is that a lot of them if they run for a long time they have a fan that comes on and you guys hear them in the background that's what you guys are all hearing you're hearing the fans so if you are if you don't have everything miked up properly and you just have like and on the mic pointed over here to try to get audio you will absolutely hear it that is definitely a downside look with a shock and mike is in relative distance between all the lights almost on the same plane so all that ambient noise that's what you're hearing if I'm lighting set that's what the buzz that your hearing in the background there is something to keep in mind where as the prophet a pro day lights are designed to be silent track that's why they're significantly more expensive so I'm gonna go ahead and press record um I'm gonna give you guys were just talking about what goes where real quick sure so right now I have I don't have the camera actually feeding towards I can use the d r sixty as a backup to my camera and my camera's gonna record the same audio or a cleaner audio than than anything else in regards supreme as a backup of my recorder okay I'm not going to do that specifically because it's now feeding out to everyone on creative life so if not if I was on set I would do that for myself but you guys were going to be the the mix of that have my audio cables have my audio headphones so I can hear everything my first thing I want to do is make sure I can hear everything and everything is nice and clear I got yes I haven't even put this on myself so both of you said that the audio's okay I can't hear anything um I'm gonna just listen keys do me a favor just do your one latte or your first line what I wanted to let you guys know is there's two of these boxes here you don't need to you need to total one goes on him which is transmitting and the other is receiving here this one is for creative life this one is for our recorder just see you know you just have to total justice okay so we're good I'm happy with that good job and yes would you ever do an interview if you were on tight but it was just one between the two of you if you like talked over the same table I had to do that had to be oh okay I forgot what happened I think that you're not crazy like we're living in between our way live in our apartment but the studios sometimes has equipment and then the apartment sometimes his equipment I think she needed to film with eric for the last creative live special that you want doing and we need to figure out howto make them up because all our equipment was at the apartment we had miles last one laugh so I think what did you want to do it like this and then we ended up we ended up putting it like just out of sight from where we're filming so we had to shoot here and so you put it right here and we just looked really friendly but you don't have much choice yeah how did it turn out well you guys heard it created you're looking up it's you get more ambient like it sounds a little echo because it's my studio space there's nothing on the wall so it's literally it's about the width of that wall to the end of the set where the wood is so there's a lot of echo that happens there is the same thing that you hear in here so it's not ideal so somebody had to take their time in order to clean up that audio that goes back to audio engineer yes our way we listen to it we go eric and I were like it's possible send enough so at the present moment it's ah it's not recording I'm gonna go ahead and set it to record on ly because I'm already starting to track now this has been recording this whole time it's listening to everything that we're doing so I have a backup yes okay so now since that's been recording forever you don't have to like listen to it and guess you will see a clear spike in the audio on this recorder and on that reporters so if you wanted to sink them up it is linked with a little collapsing is far you've been teaching a total of about ten minutes so far um since our last break that has been running for about ten minutes now so I know ten minutes into the into the feed itself I should see this large spike as lindsay's little is walking over there so you'll see that little uh scenario there so this has been recording now for forty forty five seconds I kind of want to take an eye of where that is I can see it in my audio reference like it you can actually see it in premiere and see where the spikes on the levels are I try to memorize where I started my audio because if not I'm just listening to everything that we're doing right now okay so I listened to the audio the audio's fine I can hear him perfectly at this point he's miked up audio sounds great I'm going to shoot video on leah's a reference to what I'm shooting if I want to frame it up to where it's a perfect shot I can do so I'm currently with using the one fifty so it's going to be a small little thin frame lindsay's gonna walk around with her I want to take that off the slider dio slider sons and my mom got so again you could just disregard the one of these receivers because it's going back to the creative life office so I'm gonna frame him upto where just see his face and I said to the other thing I just looked it okay I've been also looking at how much memory I have on these cards oh you're almost that I think you're almost show make sure you have another one in your pocket that goes back to you know keep memories somewhere secure I had inclination that one of us was going to need a memory card and it's her only now this is only a cakes before I do this make sure you know where this is ok it is in my pocket okay I don't take anything out of here this is our day this is all the footage that we shot for the day if this is my chute I need to make sure where I put it there have been times on set where interns decided to I don't know where and I freaked out because I'm like where is it where is it where is it I need it it's here okay when I go to back things up there here so the second I'm done shooting I'm backing up my data okay as we're speaking what what I usually do is I have one of those little hard plastic cases that only hold so many and I slipped them around backwards if they've been shot and not backed up and if they've been backed up but not double backed up I turned them backgrounds I can see the front but its upside like this is my system I made this I keep my laptop next to me on set and I used that like ji tech drives with a docking station that I have at home so I can actually take out the drives himself connected to my laptop and have that as a reference as well as the cf cards so I keep dual reference of everything that amusing before I back it up back at home so I have three final files of whatever important files that I need and that just quick no I don't want to say I know you speak so many photographers everybody has a story about a drive that has failed so I'm sure like there's been some g tech at some point but when I was first getting into video I start talking to some serious cinematographers and they said used ji tech and they'd spend the most reliable drives that we have some case anybody out there wants to know what do you use for this I have it all fire wired or thunder bolted we have you know multiple backup so that's what I actually would actually meant is I might back it up to my computer but I don't format until it's backed up and then backed up on a hard drive because it's it's not backed up until there's two existing someplace just fandom you want to go to mention that give away so if you want my block block that lindsay out the photography dot com there's a contest you just enter with your email for a thousand dollars with the prizes that we have um a rhino steady and there's something so something from the kyoto and then also there is a detect drive as well included in that so it's all things that we've used this we know you never come sorry can we ask when the deadline is for that contest tomorrow I would say thie and and the last break yeah and we'll uh we'll contact the person so if you enter and you win we'll let you know and if you guys so you know we'll put your name out there on social media who won so you guys know who you are so you'll get traffic directed to you somehow some way and that would be a good time for us to maybe jump in and ask some questions you have about audio just gonna mention that's one hundred twenty eight gigabyte card it's not that's what I was trying to hold it yes it's one hundred twenty eight gigabyte card I wouldn't normally record with us all the time the reason is I want as much like a little something about where that happened I'd use it it's our hundred let's say thirty two gigabyte card maximum I wouldn't want to shoot with this one twenty eight gay because if anything happens there goes all my files the only time I want to use this is if I have some form of backup on set but they do make a hundred twenty gigabyte cards if you have to shoot a long session whatever reason okay got it now you can have way would love to ask a couple questions about your s o I notice that you've got the love you've got the shotgun mike going is it normal for you to use multiple types of mike's to record the same set of audio well when we discuss yesterday audio in general the love mike's themselves record the cleanest audio possible um that means that I don't hear any ambient noises whatsoever which means it sounds silent and dead so if I was going to play this video all I hear is him if I'm going overlay music absolutely then I'll use the cleanest audio possible and it's fine because he's over later for music but today we're going to be recording little sounds little ambient noises like the typewriting and things like that I can't really use the love mike to get the cleanest I mean I can but I can also use the shotgun mike to get more of a distant sound from that specific set so if I'm recording something a little wider it doesn't sound like it's right next to it and want it further away so I have two options in regards to audio recording audio that goes back to the hole audio engineering thing what sounds great for you so I can use both tracks it's just a duplicate I'm already recording on my camera I've been recording this whole time the whole part is hey has little natural movements I can multi purpose as well kind of a review question a little bit sam greene photography had asked this during the last segment if you could talk a little bit more about the do's and don'ts to avoid noise when shooting they noticed the modeling light hum earlier and just talking about fixing that are eliminating that in final cut or premiere which I'm sure we'll get into tomorrow we have a bunch of noise is that we're we're very very heavy boots you noticed and I know the guys here hate me I wear combat boots like any given point in time on set and if you guys saw me I was in dress shoes yesterday taps on the bottom so they ruined the souls I'm always making noise so the first thing I do and where I'm gonna walk now is to go take a seat I don't move when I'm listening to audio I want to stay as close to the audience possible generally I stay away from the subjects themselves because what I want is I don't want a mixed the or I don't wantto misinterpret what I'm listening to from them supposedly what I'm listening to with my headset I just I want to be a way I want to make sure that I get I get the cleanest audio possible um you can for those noises manipulate them in in post it's just very tedious and you kind of have to have a reference track and you have to find little points there are programs actually take some of those noises out but it will start manipulating all the information that you have so you wantto grasp or grab the cleanest audio possible so the hum I wouldn't use for my main track I would make sure that I have something that's gonna be the cleanest possible you went for it and then just just so you could break down what you just said if you were a little bit more advanced if there's a sound that you can't get rid of those two things you do one of it is you recorded the audio and there's actually like you think this program's it'll say okay so you're saying this is the ambient bad noise okay this is what we recorded matchup what's bad and get rid of it so that's more or less how that would work versus what ill do other times as well is I will you have the hum and then when the person's not talking you at it it goes silent and it's so much more noticeable so you also record an ambient track so you can lay it down in the background and then if you can't get rid of it at least it's consistent but there are some built in things that geoff we'll likely mention tomorrow even in primary using something and sam like de hum is actually a setting and premier that allows you to be home noise in premiere you have a bunch of different tools that have been added to premier to make it a little easier for audio engineering same thing with color grading I mean they tweet premier to make it easier for you to do everything all in one so we'll discuss that a little more tomorrow and uh expense yes if you have the ambient noise say a waterfall and your one shot is that the waterfall and that's your location for say the first video video and then it's different in other places is it okay to have the ambient noise because you can't get to say you can't get rid of because it's a really loud waterhole at the one shot and then you go back to you know say your studio or wherever and you don't have that ambient noise do you think it would be too you know jarring it's depending on the way that you do your read it if that makes any sense like if you're the whole set is itself and everything that you recorded the day of is at the waterfall and then you do audio like the live mikes at the studio to overlay that you can mix the two so it sounds like it's you want to hear the waterfall in the background like for me if I was audio engineering I don't want to hear silence if there's a waterfall mentally I know there's water there so you can mix it too yes close and safe that seems really really bad I know this is I'm I'm being the person who's not teaching you the right way I'm just telling you sometimes something really bad it does help to lay down quiet background music to kind of disguise it a little bit I'm not that's not what you want to do obviously you would want to get the clean audio shoot the ambient put them together and then again if you're in different locations you know there's not much you can do but like a consistent song in the background and it might kind of hold it together if you don't want to deal honestly the quickest way if you don't want to deal with all the audio just throw music over it you know there's nothing wrong with that and videographer is going to hate me again for that but there's really nothing wrong with it there's a lot of pieces that have been done just with music and nothing else so there's there's no rhyme or reason you can't do that unless it's something he's talking because that's just a disappointing up to spend a lot of time recording audio and then having that's well you couldn't do it without audio here because what we're going for storytelling so in other words and you have to be oh it's depending on what you set up for that makes any sense you want to plan and prepare what you're looking to do um if you're going to take the time like susan mentioned and shoot this then you need to planet prepare your day and make sure all your equipment's charged and that you can get that that noise and what you're going to do in your spare set scenario if I was shooting with you I would say are we filming all day at the waterfall are we filming all day at the studio what what are we what are we doing here what are you looking to do if you're looking to do an engagement session where each of them is speaking about their significant other and it's something cute and lively and things like that then I would go ahead and say let's do everything at the waterfall lay down let the waterfall kind of be diluted in the audio do everything nice and crisp and clean in the studio and just have them talking about each other then you have something in the background and you don't waste your time jeff can I ask another question this's a clarification question from risk rick escalante you've mentioned several times reference audio and rick is just asking if you can explain what that is and goes on to say I think I understand you to mean audio used to reference or to sink during post and correct soon out of out of camera we obviously have the most horrible audio that's going to be oh that's gonna be relevant with the n g t choose they allow you to hear better audio for you to be ableto use um other cleaner sources from if that makes any sense the lab mikes that you're recording needs something to sink too just like you mentioned where if you don't have great audio it can't sink together so you need something it's just cleaner than out of camera audio that makes if that's clear cool that's great quick one from civilized cave man talking about talking about the road mike and know a lot of people have those it's it's a good entry level mike when using a shotgun mic is being closer with it on camera reduced noise are their settings for the road that would help to reduce it off the bat shall we turn down sensitivity what kind of ways to maximize the quality of audio from that road the road mike itself is designed to work in a shotgun style so right now if I would have can you hold this for a second if I were to look at the gt two it's referencing audio here this is where it shooting it's shooting in this little globe here it's shooting a little bit outside in a little bit from the back so you have the noise the mike knows if I would move this you should hear in the background this is not sink to you guys at home but I'm showing you more or less how that works where I know where the reference points of where it shooting so right now it's pointed or it was pointed before his chest which is the cleanest audio for someone out of out of camera that director cia camera unless you have manual levels you're not going to get clean audio to begin with so you need to be able to manipulate your levels on the back of the jersey too so anything that that's a pre emp you can mess with the levels and settings that's what you want that's how you're gonna get the cleanest audio right out of camera you need a way to manipulate the microphones that you have because if you're just gonna get a bunch of audio I don't know how it's like a blown out audio same way that you would have everything over exposed you have no way to compensate for it it's kind of like that with audio but yes closer is better just like because he's getting better however if you don't have a windscreen on there and the person speaking then you can hear all that like out there if they speak with lots of peas or esses or they enunciate themselves too much I can hear all that so you want to make sure that it's within that eighteen to thirty six inches in order for you to record clean crisp clear audio