Multitrack audio for best control later, versus live mix
In field production or in the studio, ideally, we record every audio source on its own track for absolute...
First look: iKlip A/V preamp/mount/grip for smartphones & small cameras
I have covered mounts and grips before (iOgrapher and The Padcaster). I have reviewed many audio preamps to connect...
How to record great location sound without a boom operator
One of the worst mistakes you can make when recording location sound is to rely on a boom shotgun...
Selective Audio Filtering in Final Cut Pro X
https://www.youtube.com/watch?v=RJOUy7ZBTPs&feature=youtu.be This week on MacBreak Studio, Steve Martin from Ripple Training shows us how he prefers to apply audio...
Getting Your Foot in the Employment Door
I recently had a long time employee, venture forth into new and exciting opportunities for herself. I began the...
Review: Senal ENG-18RL dynamic interview microphone
Omnidirectional dynamic microphones with balanced XLR connections remain the first choice for most ENG (electronic news gathering) organizations to...
First Look: Red Giant PluralEyes 4
PluralEyes 4 automates audio/video synchronization in seconds instead of days, giving videographers and filmmakers edit-ready footage without clappers or timecode....
Final Cut Pro X: slipping audio without detaching it
This week on MacBreak Studio, Steve Martin from Ripple Training shows us a great tip for slipping the audio...
Audio Hold Frames in Final Cut Pro X
This week on MacBreak Studio, Steve Martin from Ripple Training shows us how to create audio “hold frames” to...
Adorama Pro 101: The Basics – Mic vs. Mic
In chapter 3 of Adorama Pro 101: The Basics, we examine the differences from microphone to microphone.
