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This weekly course covers the most common questions videographers encounter when shooting and editing with DSLR cameras, from choosing a frame size and frame rate to understanding moiré. Authors Rich Harrington and Robbie Carman will also help you understand the impacts of compression and the difference between cropped (or micro 4/3rds) and full-sized sensors in cameras, and much more. This continual FAQ guide is a handy way to find the answers to the questions that plague you the most.
Rich Harrington: Hi, my name is Rich Harrington. Robbie Carman: And I'm Robbie Carman. Rich: And this week we're going to be talking about recording audio for interviews. Now, we've looked at other types of microphones on past episodes, and I think it's well established that the built-in mic, not so good. The shotgun mic, okay, but it's only going to work in certain situations for audio. If you're really close in a quiet room, pointed right at the subject. In this case, that doesn't always happen, so we turn to other types of microphones. Robbie: Yeah, recording the interview a lot of times, especially for a documentary project or a corporate project, is your key piece of footage, and not getting good audio in those situations can really sort of ruin the quality of your project, and worse yet, your client might be really unhappy if you're doing say a corporate piece and even fire you.
So getting really good audio in interview situations is something that's definitely key. Rich: So we have here different types of microphones for different situations, and today we're going to explore two primary types of workflows. One easy workflow is going to be using a Lavalier microphone. You can barely see mine here just out of the frame. It's attached to the subject. This works great for getting the audio of the person. I can actually make a small adjustment here. Notice while it's moving, sounds like bad audio, but we pin that on and that allows it to be easier to get the subject's audio about that far away from the mouth.
Another approach is to have a dedicated audio operator and use a Boom mic to hold the microphone over people while they're talking. Because let's face it, in a situation like this, it's perfectly okay to see the microphones. We're in a talk show type format. We're not trying to hide that there is microphones, but if we were doing something like, oh, we're all sitting around the family dinner table and we're talking about the stress of how to do our income taxes. Robbie: Your family doesn't wear Lavs wherever they go? Rich: Well, mine does. Robbie: Oh, of course, right, right, that's what I thought. Rich: Yeah, so sometimes we need to hide the microphone and not see it in the scene.
And one of those strategies is the Boom microphone. So when we come back we're going to take a look at both of these and take an in depth look at how they work and why you would choose one over the other.
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