What is it about the sound in many student or amateur films that makes them sound so… well… amateur? Even if the fidelity or clarity of the dialogue is good, there is often something empty or thin about the rest of the soundtrack – the action lacks depth and realism. The answer could be that the film makers did not add Foley to the soundtrack.
So I finally did something I should have done years ago: make a sound design demo reel. I’ve always had my work available online to view, but never as a collage of all my best work. I was naive to think that potential employers and clients would take the time to view multiple examples of my work. I’d be lucky if they viewed just ONE video in full. So as I set out to make my reel, I decided to do some research first. As expected, I only found guidelines for visual/graphic demo reels. While there are certain tips that apply to all demo reels, audio reels obviously need their own criteria.
In addition to choosing the most practical and highest quality microphone (as discussed in Part 1 of this article), the second half of the field recording ‘equipment’ equation is the trusty field recorder. We’ve come quite a long way in mobile recording technology in just the past few years and while it might seem to improve the chances of capturing incredibly high quality audio, it actually makes your choice that much more difficult. As with microphones, there are countless reasons to choose a specific recording device over another and, of course, it all depends on what you’re recording and how you’re recording it. Once you’ve defined your variables, selecting an appropriate recorder may become obvious but most recordists still bring more than one type just to be safe.
Field recording is defined as any recording made outside of a controlled studio environment. So, pretty much any audio recording you make whether it’s in a garage, your backyard or out in the middle of nowhere is considered field recording. Recording inside a studio is already challenging enough, but add in portable equipment, wind noise, airplanes, birds and all of those unpredictable annoyances and you’ve got yourself a real challenge! If you enjoy fresh air, meeting interesting people and doing things that can be down right fun, then field recording is definitely for you.
It couldn’t have been their sense of hearing that has made human beings the dominant species on this planet. Numerous animal species are far superior to humans in this respect.
Još jedan od najčešće korišćenik zvučnih efekata (naročito u TV serjama Universal Studios tokom 70-ihi 80-ih) je telefonsko zvono. Ovaj šum je postao poznat naročito po uvodnoj sekvenci u serijalu "The Rockford Files" jer se čuo pre pre odgovora automacke sekretarice na telefonu Džima Rokforda.
This year marks the 50th anniversary of the introduction of the classic Sennheiser MD 421-U large diaphragm, cardioid, dynamic microphone. The venerable MD 421, which is still in production as the MD 421 II, has been one of Sennheiser’s best-selling dynamic microphones for decades thanks to its durability, versatility, and ability to handle high sound pressure levels.
Educational video about field audio
This video is for anyone who's curious about audio field production. We go over the basics of field mixers, booms, wireless kits, and more!
Castle Thunder (Grmljavina zamka) može se zvati i "grmljavina koja se čula svuda u svetu". Originalno snimljena za "Frankenštajna" iz1931, čula se bezbroj filmova i TV emisija da bi postala ultimativna filmska grmljavina. Do kraja 80-ih, kad god biste čuli grmljavinu u filmu, verovatno biste čuli Castle Thunder.
Već nekoliko godina unazad sve je više u porastu uvođenje tzv.digitalne terrestrijal televizije (DTTV), takođe poznate kao DVB/T (Digtal Video Broadcast Terrestrial) u Evropi i DVT (Digital Telvision) u SAD.