Among the most overlooked video accessories are outdoor windscreens for microphones. Much of a video crew’s work is outdoors and random wind noise is one of the most difficult anomalies to control. This means some sound operators, who work in extreme environments, spend as much money on wind protection gear as the microphones themselves.
Stereo recording can be implemented in many ways. However, for broadcasters, the safest method for stereo broadcasting is Mid-Side, or M/S, a simple recording system that automatically protects the mono signal should something go wrong. Here are the basics of M/S recording.
If you can see how a magic act is performed, POOF! the magic disappears. Live TV is a magic act because so much of the on-screen magic happens behind the curtain. When a random device malfunctions or fails during a live show, if the talent doesn’t blab the secret on-air, viewers probably won’t notice. As many great engineers and directors have said in so many ways, “They won’t know unless you tell ‘em.”
Ribbons were the first great microphones, mainly due to their very musical, natural sound qualities. Invented in the 1920s, their run of popularity lasted until the 1960s when ribbons fell out of favor. That was not because of the microphone itself, but due to changes in the way voices and music were recorded. Now ribbons are back in favor. How did that happen?
Because we experience the world in three-dimensional sound, why shouldn’t we always choose a stereo over a mono microphone for a video camera? The question sounds like a no brainer, but stereo audio is not always the right choice in video production.
Audio can be edited these days on virtually any personal computer. Professionals, however, need to understand storage drives in order to get the best results. Here’s what to look for when buying drives for audio editing.
It is time to implement IP based bidirectional and multi-user radio systems in the licensed BAS band channels. The resulting improvements in data rates and new technology can enable workflows in the field much like those enjoyed in the studio. However, careful management of data rates, traffic priorities and security are required to ensure high quality signals are delivered back to the studio.
Weather can change on a dime. Whether it is extreme heat or cold, rain, snow, thunderstorms, hurricanes, tornadoes or wild fires, video crews must be prepared for any kind of foul weather.
