Recording the human speaking voice can be one of the trickiest tasks a professional sound recordist encounters. Even when working with seasoned professional voice artists, problems can creep in. Here are a few of them and how to solve the problem.
One of the stark differences between pro audio and video is the pursuit of vintage technology. As video technology continually improves, most working professionals go after the latest gear as soon as it hits the market. For audio, on the other hand, the pinnacle for many professionals are vintage components from decades ago. Why the huge difference?
As today’s media workflows increase in size and speed, with Big Data analysis and Fast Data processing added to the mix, the need to better manage the entire lifecycle of content becomes ever more important. Building an efficient and effective workflow requires the use of a hybrid storage infrastructure, leveraging the speed benefits of on-premises storage with the distribution capabilities of cloud.
DIT Simone d’Arcangelo and colourist Anthony Raffaele used an ACES production workflow supported by a range of color tools from Filmlight to help create an iconic 1950’s look for Woody Allen’s new film, “Wonder Wheel”.
SMPTE’s publication of the first documents in the standard ST 2110 for professional media over managed networks goes beyond merely replacing serial digital interface (SDI) with IP to giving broadcasters the flexibility to devise a whole new set of applications based on, and leveraged off, IT protocols and infrastructure.
Acoustic impedance is analogous to electrical impedance, and we all know that impedance matching is important in electronic systems. Here John Watkinson looks at the importance of acoustic impedance to loudspeaker design.
Changes in the broadcast industry are bringing far-reaching repercussions. In particular, studios, control rooms and production houses alike are all seeking ways to streamline processes, adapt workflows and work in a faster and more intuitive way. This has given rise to a number of trends across the industry. But should equipment designers and manufacturers be swayed by these when choosing display technology?
Nearly 50 years ago — 1969 to be exact — Sony introduced the ECM-50, a tiny peanut-sized electret condenser lavalier microphone that virtually ended the reign of large, cumbersome microphones used in television broadcasting. Since then, the scope, quality and price of lavalier microphones has dramatically expanded. Here’s a look at what’s available now.
