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Using Premiere Pro & After Effects CS6 SmartSound Plug-Ins

A quick and easy round-trip workflow for creating and editing your music soundtrack!

By Jeff Foster | August 24, 2012

SmartSound Sonicfire Pro 5 is not only amazing soundtrack scoring software, but also a collection of royalty-free music clips that are fully customizable, with features like Mood Mapping and Timing Control. You can easily pull out select instruments and "write" a complete score of any length you wish. With the Sonicfire Pro 5 software and the Premiere Pro or After Effects plug-ins (CS5 and above), you can streamline this workflow with simple export functions and double-clicking the audio files right inside your timeline. Read More

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JuicedLink video illustrates audio quality with DSLRs via RiggyAssist versus an H4n recorder

By Allan Tépper | July 11, 2012

JuicedLink just released a new video to illustrate the quality of an audio recording to a DSLR camera (the Canon 60D) via JuicedLink’s own Riggy-Assist low-noise preamp versus the same signal recorded on the popular H4n audio recorder. The same microphone was used in both cases. Ahead you’ll see the video, hear the audio, and discover why I am inviting JuicedLink to create a slightly different comparison for us.

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Hybrid USB/XLR microphones: the missing workflow for independent voice talent and podcasters

An ebook inspired by a need among voice talent, and a vision of a workflow using little known tools and techniques

By Allan Tépper | June 21, 2012

Several times a month, I am inspired to write and publish an article about one of my varied interests. This happens less frequently with books that I write and publish, but it does happen. In this case, it has to do with a need I’ve seen for quite a while among independent voice talent and podcasters who generally work from home or an office (not from a recording studio). Often many professional voice talent just need to record audio (not to edit it), and are confused about what microphone to get, what non-editing audio recording app to use to record uncompressed AIFF or WAVE, and when (and how) to record either 44.1 or 48 kHz. So I wrote an ebook in two languages, with photos and appropriate screen shots for each language.

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Record audio at 48 kHz on an iPad from a digital source? Yes!

FiRe 2 - Field Recorder is an almost perfect app for iOS

By Allan Tépper | June 15, 2012

As of the publication date of this article, unfortunately none of the video apps I’ve tested on an iPad records at the proper audio-for-video standard of 48 kHz (kiloHertz). Apple still needs to get its act in gear with iMovie for iPad. Avid Studio for iPad and FiLMIC PRO, you too! It really “Hertz” me that all three of you are inappropriately recording audio-for-video at 44.1 kHz. But I am happy to report that we have found and tested an iOS audio app that records perfectly on an iPad from a digital source at 48 kHz, either AIFF or WAVE. Our tests have been with the Audio Technica AT2005USB, a hybrid mic covered in two other articles in ProVideo Coalition magazine and in a recent ebook I published. In this article, I’ll tell you everything I like, and the only thing I’d like added to this <US$6 app.

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Adobe CS6 Announce Date Revealed

Adobe CS6 Announce Date Revealed

The Adobe CS6 Public Announce Date is April 23, 2012.

By Richard Harrington | April 22, 2012

Want to know what's up with Adobe Creative Suite 6 and the Creative Cloud? Read More

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1st handheld dynamic microphones with hybrid XLR/USB/iPad connectivity from Audio Technica

1st handheld dynamic microphones with hybrid XLR/USB/iPad connectivity from Audio Technica

Part 1: Background, why we needed such a microphone, comparative performance tests

By Allan Tépper | April 10, 2012

Over the past few years, the market has become flooded with USB microphones, but most have been condenser models, and only a couple have been dynamic. Those dynamic models have been USB-only. There has been a need for dynamic USB microphones that were also hybrid (XLR balanced analog + USB digital, together with onboard zero-latency monitoring), especially since the external converters are both costly and bulky, and USB-only microphones are -by nature- more limited in terms of applications. In this part 1, I’ll clarify when dynamic microphones are preferred over condenser models, where USB-connected microphones “fit”, cover Audio Technica’s first hybrid dynamic models, and offer three comparative recordings between our reference Heil PR–40, the legendary Shure SM58, and the new ATR2100-USB, which is one of two handheld hybrid dynamic models from Audio Technica.

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Want To Fly In First Class On Your Next Gig?  Here’s How!

...and it is actually CHEAPER than coach!

By Bruce A Johnson | December 09, 2011

I just got back from a whirlwind cross-country trip for a freelance gig I'm working on. Between me, my field producer and my audio operator, we managed to boil down our equipment complement to six checked bags and three carry-ons. Now prices vary on different airlines, but the way it worked for me was this:We flew USAirways from Cleveland to Phoenix, changing planes in Charlotte. When I got online to check us in the night before, I was resigned to paying $60 in checked bag fees for each of us ($25 for the first bag and $35 for the second, all meticulously packed and weighed to be less than 50 pounds.) However, in the middle of the check-in procedure, a pop-up box asked me if I would like to upgrade my entire party to first class - for $50 each. On USAirways, this upgrade includes TWO FREE CHECKED BAGS. (Bonus: They can then weigh up to 70 pounds.) In the time it took me to click the "yes" box, I had saved $30 overall and managed to get prime seating for the crew, and moved to the head of the boarding queue to guarantee overhead-compartment space for the two cameras and backpack-full-of-computers-and-iPad we were carrying onboard. I call that a bargain at twice the price! Coming home at the end of the shoot from Tucson to Madison, I played the same game on United. Since both of those flights were on regional jets, first class was not offered, but once again the cost of checking two bags and first-call boarding was less than the cost of checking the bags alone. While it is easy to imagine scenarios where this technique may not work (e.g., first class is booked full) it is a trick that I will be trying every time I need to check bags from this day forward.Got any travel tricks of your own you'd like to share? Let's hear them! Read More

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Sharing Assets: Adobe CS Production Premium’s Unique Workflow

A case where the whole is indeed greater than the sum of its parts.

By Jeff Sengstack | October 22, 2011

When you look at Adobe CS Production Premium's video production tools - Premiere Pro, After Effects, Encore, Audition, and Photoshop - many if not all could be considered industry leaders in their own right. But it's how they share assets that makes the suite such a powerful performer.Applications in Adobe CS Production Premium share assets in several ways. The goal? To save you time, reduce your work load, and ensure your assets retain their original quality throughout the video production process. Read More

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Redrock Micro Brings Order To Unruly Cables

Redrock Micro Brings Order To Unruly Cables

Innovative microTies Promise To Tie Up Loose Ends

By Clint Milby | September 15, 2011

Your cat may like them. If you have a touch of OCD you might enjoy unraveling a nice ball of wires to calm your nerves.   However, disconnect a power cable on a light or your HDMI cable during a shoot and it could cost you a shot, which could cost you a job. Especially for the HDSLR shooters, the myriad of wired accessories continues to grow, and so do the chances of you getting tied up knots. Electric tape or grip tape work, but they aren't very dependable, and they make your cables and rig sticky. There's the velcro ties, but they're like socks that some how vanish without a trace. So what's the solution? Enter Redrock Micro's microTies.

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The One Collaboration I Need Adobe To Make

I don't think I'm really asking much...am I?

By Bruce A Johnson | September 07, 2011

Hey folks, been gone a while, but it's fall and time to get back in the swing of things. One of the interesting side-effects of writing for PVC is that I am on just about every PR person's mail list. Usually these missives are easy to toss to the side, but the other day I got one from Adobe, talking up their presence at IBC 2011 in Amsterdam (for the record, IBC is the international version of NAB, held in early September every year.) As a long-time Premiere Pro and CS-suite convert, I paid a little bit more attention to this one than average. Unfortunately, I neglected to save the URL, but the gist of it was this: Read More

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The Fourth Annual Amsterdam FCPUG SuperMeet

The Fourth Annual Amsterdam FCPUG SuperMeet

FCPUG Converges on Amsterdam With HDSLR Shooters including Philip Bloom

By Clint Milby | August 31, 2011

IBC is almost here, and that means it's SuperMeet Time, and this one is shaping up to THE event of IBC. Beyond the opportunity to meet and visit with your fellow filmmakers from around the world, you'll also get to interact with Philip Bloom and Jason Levine of Adobe Systems, Editor Eddie Hamilton (X-MEN: FIRST CLASS) for Avid, Michael Wohl on FCPX, Autodesk & others. Read More

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Roland QUAD-CAPTURE: the little sister of the OCTA-CAPTURE

Roland QUAD-CAPTURE: the little sister of the OCTA-CAPTURE

By Allan Tépper | August 24, 2011

ProVideo Coalition readers who are into audio gadgets probably read my recent full review about the OCTA-CAPTURE from Roland. This article is about the OCTA-CAPTURE’s little sister, the QUAD-CAPTURE, and covers the differences between the two units, as well as its relative preamp and ADC (analog>digital conversion) quality compared with similar devices. Both of the two sisters connect to a computer via USB. One of the first things you’ll notice is that the QUAD-CAPTURE’s name insinuates more microphone inputs than it really has. Read More

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CMG Hidden Gems: Chapter 36 - Working With Audio

Another selection of "hidden gems" (and essential advice), this time from Chapter 36 of Creating Motion Graphics with After Effects.

By Chris and Trish Meyer | August 12, 2011

We're going through our book Creating Motion Graphics with After Effects 5th Edition (CMG5) and pulling out a few "hidden gems" from each chapter. These will include essential advice for new users, plus timesaving tips that experienced users may not be aware of.After Effects has never made audio one of its strong points. If you need to seriously rework a soundtrack, do it in a dedicated audio program (such as Adobe Audition, which is now part of the Production Premium suite as of CS5.5). But if you just need to edit, mix, and do some basic improvement or "sweetening" to your sound track, After Effects already has the tools you need. In this installment, we'll share some tips on working with audio; in the next installment, we'll cover audio effects. Read More

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Review: Roland OCTA-CAPTURE 8/10-channel USB 2.0 audio interface

An ideal i/o device to capture up to 10 independent audio sources simultaneously, each on its own individual track.

By Allan Tépper | August 06, 2011

Many of the affordable pro audio interfaces that are available on the market have a maximum of two balanced microphone inputs, and few of them include hardware-based limiting, compression, or gating. Among the special features of Roland's OCTA-CAPTURE is the fact that it contains 10 total audio inputs, of which 8 are balanced microphone inputs. The OCTA-CAPTURE allows recording to a standalone audio recorder and/or to a computer. At least when used with a computer and a compatible piece of audio software, the operator can even record all of the available inputs on individual tracks, which provides extra flexibility in post-production, i.e. to mute a cough, or to re-adjust volume or equalization of any particular source after-the-fact without affecting any other source recorded simultaneously. The OCTA-CAPTURE also features onboard compression and gating. In this article, I'll cover the OCTA-CAPTURE's features, setup, preamp quality, compatible audio software, and then offer my conclusions.{C} Read More

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A Sound Solution to HDSLR Audio

Sennheiser Offers HDSLR Shooters A High End Shotgun

By Clint Milby | August 01, 2011

It seems everyone wants a piece of the HDSLR pie, and Sennheiser USA is no exception. With Rode microphones and Zoom recorders aggressively achieving an early HDSLR market position, Sennheiser is a bit late in the game, but according to Kevin Waehner of Sennheiser, their new MKH 8060 shotgun brings a high end solution for those seeking a camera top shot gun microphone. Read More

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Is This The New Model of Financing Your Project?

Financing is scarce. The world is changing. How do you navigate the new waters?

By Terence Curren | July 06, 2011

Sponsored movies of the 70?s and 80?s were the precursor to Branded Entertainment, and it's a major way of getting funded today. But is it the future? Philip and I discuss examples and why it might be more successful in the new paradigm of commoditized content creation.Click on the link below and join the conversation on the latest episode of The Terence & Philip Show. Read More

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Korg IMS-20 Tutorial 3:  Sequencing for Synth and Drum tracks

Korg IMS-20 Tutorial 3:  Sequencing for Synth and Drum tracks

Here's some detail about how to create a nice sequence, including the long-awaited journey into the world of Deepest, Darkest What-the-heck-is-the-difference-between-the-drum-and-synth-tracks-land.

By George Sanger, The Fat Man | June 24, 2011

In Tutorial 1, we struck a glancing blow at the step sequencer by showing where it is and how to change the length of a sequence's loop, and then waving our arms vaguely and mumbling "and then you just turn some knobs and you're done." We also claimed that the difference between drum and synth sequencing is "pretty much 'nothing,'" but promised to get into it later.Now it is later. The Future. And indeed we get into it. This time we learn just what all those knobs do, except for the 'voltage' knobs, which got some of our famous hand-waving this time, and we promise to address on Patch Bay Day, which is now the New Future. And in this tutorial we explore the differences between synth and drum channels, which pretty much comes down to this: Read More

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The Phantom Hum

(and I'm not talking about phantom power)

By Bruce A Johnson | June 20, 2011

I do a certain amount of freelance work, mostly for friends that have businesses. Last weekend I started work on an instructional video for Exerstrider, makers of poles you use while walking that really ramps up the exercise value. We were plowing through the script at a rapid pace when......The Phantom Hum reared it's ugly head. Read More

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Audition: Made for Video (Part Two)

Premiere Pro's new audio/video workflow.

By elaine montoya | May 31, 2011

In Audition: Made for Video Part One, I demonstrated how developing a workflow can save you time and money - when time is of the essence. We took a look at the workflow I use each month when producing our online show, motion+connect as a means to understand the value of ‘workflow' - as well as providing an example of how this applies to ‘real-life' projects. Then, we added Adobe Audition to the mix. We explored how to bring single clips, multiple clips, and complete sequences from Premiere Pro to Adobe Audition - with and without video. We took a look at the roundtrip process of bringing audio back into Premiere, as well as the process of going back and forth between the two applications to make changes, sweeten the audio or master the final mix.In part two of Audition: Made for Video, we're going to take a look at some of the features of Adobe Audition that we use on a regular basis when producing motion+connect.Here is a look into my own real-world workflow using Audition. Read More

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Using Audition with After Effects

Some workflow tips for the motion graphics artist looking to also improve their sound.

By Chris and Trish Meyer | May 27, 2011

As you can see from recent articles on PVC, Adobe is anxious to make you aware that they have made their audio editing application Audition available for the Mac as well as Windows, and bundled it into the Production Premium and Master Collection suites.While their focus is on showing editors how to take advantage of Audition, our orientation is motion graphics and visual effects - therefore, we're personally more interested in integration with After Effects. Although nowhere near as robust as Audition's integration with Premiere Pro, there are still some nice synergies to be had. That's why as part of our New Creative Techniques videos we created for After Effects CS5.5, we included two on using Audition with After Effects - both for absolute newbies looking to add some audio special effects to those wanting to dive a little deeper and improve their voiceovers. In case you missed them as part of our After Effects CS5.5 review, here they are again for your viewing pleasure: Read More

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