(The rig is sanitized between shipments, if you were wondering.) “Twitch streamers have been using this kind of tech for years, “ explains Horn, “so now we’re using these tools to be sure the footage we’re editing isn’t low quality cellphone video, but actually decent 4K LOG footage with discreet audio channels.” It will be interesting to see if such rigs become more popular, with crews becoming remote expert consultants rather than on-set creatives. And he can stream the shoot to executive producers via Microsoft Teams, Zoom or Facebook Live, so that they can weigh in on the setup. Using Canon software, he can allow remote control of the camera by a DP. He will even include a beam-splitter prompter if needed. He’s crafted a customized, shippable 4K kit, complete with a mirrorless Canon DSLR, lens-mounted ring light, wired lav and a camera mounted shotgun mic as backup. People like editor-producer Chad Horn of Bard Tales isn’t waiting to see what happens next. But for many in production, neither of these solutions is workable yet. While networks are using LiveU for their at-home remote anchor feeds, Netflix has announced it is getting back to the set with increased safety protocols. (Pro Tip for Zoom: Be sure to “Enable HD” in your video settings, and “Optimize for third party editor” in your recording settings, to ensure a better data rate.) Getting Creative with Remote Production The recording you make directly into your computer will be significantly better resolution than the one that gets recorded to the cloud. This means hitting record at on both “ends” of the call. When recording online, whether using Skype or Zoom, “it’s always a good idea to make a double ender recording,” advises Rich Harrington, CEO of RHED Pixel. When using VOIP to record an interview producer Walter Biscardi recommends using e-Camm recorder with Skype, and making a backup audio recording direct to his Zoom h4n. Some talent go as far as recording inside a closet or anywhere with dampened sound such as a carpeted hallway. Avoiding hard surfaces, noisy appliances, and being close to your computer fan will significantly help your sound. For significantly less, the Blue Snowball gives a decent sound. If you are recording podcaster-style, you can’t get better than the Rode NT-USB podcast mic, which runs about $250. In the same price range is the Saramonic Blink500, which works with mobile phones, computers and tablets. I’m a fan of the Samson Go Mic Mobile package, which gives you a wireless direct-to-mobile signal for under $200. If you need distance from your mobile device or computer, then wireless is the way to go. (Remember you may need adapters for iPhones.) If you can go up a bit in price, the Rode Smart Lav /Condenser at under $80 is a solid mic. iPhone video consultant Kim Foley recommends customized solutions to her clients, including the Mosotech Omnidirectional Condenser Lavalier Mic, which at press time was under $20. Producer Nicki Sun recommends the Power DeWise wired lav mic which runs at about $40. Wired mics avoid interference best, and can come at a fairly low price point.
Cinesync audio control professional#
Professional soundies will cringe, but there are some affordable options for non-pros. Regardless of platform, the priority is audio.
We’ve all be faced with having to conduct an interview over the internet or having to use a clip that our client or talent self-records with a mobile device.
Let’s start with getting better audio for online and mobile video recordings. In this article, I’ll take a look at some innovations and tips for managing the challenge of work-from-wherever-we-are production and post. Even when we “return to normal,” aspects of these workflows and strategies will remain. Today we are facing an interesting convergence of mobile video, online video, archival content, and remote workarounds for production, as well as even more critical cloud and remote workflows for post-production. Covid has changed production, possibly forever.
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