Recent content by Bob Kessler

You use an external recorder.

I'm just an audio guy; when it comes to cameras (and video editing) I wouldn't know an F-stop from a bus stop. Eight/ten years ago I did have to do audio pull-ups/pull-downs to match 44.1 audio to video. Now that most audio recorders do 48kHz it's not a problem. 99.99% of the projects on...

You say it's not the problem, but sound for film/video should be 48kHz. If you have the option use 24bit for the superior headroom. You should use these settings on the Zoom. Are these multiple takes or one single take?

There's a lot more to production sound than getting a shotgun mic. Technology is important, yes, but the techniques with which you use that technology are even more important. You can get gear on the cheap. A Tascam DR-40 (US$200) and a Rode NTG-1 (US$250) are just barely in your budget...

Space recorder? Never heard of it. Do you mean a flash audio recorder like the Tascam DR-100 or the Zoom H series? And lets get the terminology correct; there is no such thing as a "boom mic" or a mic made specifically for boom-poles, almost any mic can be mounted on the end of a boom-pole...

What's your budget? And are you going to have any help - like someone to swing a boom?

As I said, you can look for another up-and-comer like yourself. S/he will have a minimal sound kit, a basic knowledge of signal flow and will still be expanding their skill set as a boom-op. (Trust me, becoming even a good boom-op takes a lot of practice; I've done it and it's really hard.)...

If you are looking to hire someone then you need not worry about the gear working with your camera. Most likely the person you hire will have a digital audio recorder. The audio will be imported into your NLE and you will sync it there. It will be up to you to be sure that frame/sample rates...

That depends upon what aspect of sound interests you. If your interest is film sound here are a few favorites: The Practical Art of Motion Picture Sound - David Yewdall Sound Design - David Sonnenschien (Who is also holding an on-line course next month) The Foley Grail - Vanessa Ament The...

"Cheap" is a relative term. To someone like me "cheap" means spending about $1,500 to build a basic sound kit. That will get a cardioid mic, a shotgun mic, a digital recorder and all of the accessories like a boom-pole, shock-mount, cables, cases, etc. FYI, a "Hollywood" sound cart can cost...

Shotgun mic for outdoor use: http://www.rodemic.com/microphone.php?product=NTG-2 Hypercardioid mic for indoor use: http://www.oktavausa.com/ProductsPages/MK-012-01FilmEditon.html Mixer for cameras with 1/8" minipin audio input...

If you're just starting out you should read ALL of them and many more. And all those books seem to be visually oriented; you're completely ignoring sound. You should also read: Sound Design: The Expressive Power of Music, Voice and Sound Effects in Cinema by David Sonnenschein The Sound...

In what format are you editing? These days picture editing takes place in an NLE (Non-Linear Editing) system, audio editing takes place in a DAW (Digital Audio Workstation). The DAW is usually where the dialog is edited, ADR and VO is recorded and edited, Foley recorded and edited, sound FX...

You're not going to get anything decent for $200. A passable budget mic will be about $250, then you'll need a boom-pole, shock-mount cabling and wind protection, $350+ at the minimum. You are better off renting; you can get a top quality mic and boom-pole plus the other accessories for around...

I would venture to say that what you have are Dynamic mics, which are mostly used for live music or high SPL situations. Dynamic mics require the singer to "eat" the mic or be placed right on top of the sound source. They generally do not do well for picking up sounds from any distance over...