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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's Rich Harrington. Robbie Carman: And I'm Robbie Carman. Rich: And welcome to this week's episode. We're going to be talking about audio, or more importantly, really go in deep on how to not screw things up. Robbie: Well, right, I mean when we are out there in the field, especially in a run-and-gun situation, audio can make or break your production. Now this is sort of germane to people like News Reporters and ENG Style things, but even if you're shooting sort of a documentary style project where you need to make sure that you get good audio, but you don't necessarily have the equipment, the budget, or the team to have a lot of your audio gear on set and all the people running it.
So, this week we really want to focus on sort of a run-and-gun approach and how we use microphones and different pieces of gear in run- and-gun setups to get good audio. Rich: And one of the things I'd really like to say is this, realize that run-and-gun sound, one-person sound is not ideal, no matter how you slice it, this is not the ideal workflow. If you're trying to pay attention to the performance of your subject, the focus, the quality of the signal, the shot composition and by the way, is the microphone working? Does the audio sound good? This is not ideal.
I think what we're really saying here, Rob, is the only reason you're going to use these techniques is because you have to. You have no money, you have no crew, you have no choice. So we want to help you get the best out of it, and to that end, we're going to be talking about getting more from the built in mic, using a shotgun mic, microphone pre-amps, but I really cannot emphasize enough, get another person if at all possible. Robbie: Yeah, no, a dedicated audio person is going to do wonders for your production. With that said, though, if you just pay a little bit more attention to how you're actually working with audio when you're in a run-and-gun situation, you can get some very usable good audio.
Fortunately, lot of the microphones, lot of the other gear that's out there has made getting good audio in run-and-gun situations even easier, but I agree with Rich, is that when you're in a run-and-gun situation, audio is something that you really need to focus on and it's always better if you have the time, the budget, and the personnel to have a dedicated audio person on set. Rich: With that in mind, when we come back we're going to take a look at the worst microphone you own, the built-in mic on the camera.
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