micing in studio with video production

Posted: Tue Jan 16, 2007 8:28 pm

I am current writing and planning to produce a bunch of video tutorials spanning about 6 hours. I already a small amount of good sound gear in my studio and I'm wondering if I can incorporate that into production. The big sound issues are quality and timing.

I haven't purchased a camera yet, as I'd like to work out all the details first. Soundwise, I was thinking about buying some DPA clip-ons (4060 BM) and running them into my regular sound recording gear and then recording the AV on the camera seperately, then line up the two audio tracks in final cut and deleting the crappy one. I realize its a bit of work on organizing the clips, but is there any technical reason not to do this? Does it depend on the camera I buy? FYI the in-studio segments will feature one or two seated people at one time, host/guest. However, the majority of the vids will be subject-related pics or vid with voice-overs and background music/SE.

Posted: Wed Jan 17, 2007 2:07 am

What you are describing is what I have been doing for about the past five years. Quite simply, it's a lot of fun along with a lot of work. Considering the fact that your end product will probably be that of a DVD, I might recommend that your audio recording be recorded at 48kHz, since that is the standard sample rate for audio on a DVD. Transcoding from 44.1kHz to 48kHz never quite mathematically works out and in the end can cause you some synchronization issues while editing, since we no longer use time code as we used to in the analog days of audio for video before we had these cool computers, digital video and DVDs!

Although it's not impossible to get your soundtrack from a audio CD into your video editing program even though it was delivered in 44.1kHz. You are still trying to maintain lip sync and so as little transcoding as possible will make for an easier edit IMHO.

If you're talking about a talking head show then the DPA microphones are certainly luxurious overkill in comparison to your run-of-the-mill TV lavalier microphones like the Sony's, Sennheiser's, Countryman and others which are far more affordable than the DPA series of microphones. Now if it is singing heads, you can't do better than the DPA's.

I do recommend however that you utilize the camcorder microphone sound to aid you with the synchronization from your external audio track. Some people think you should use an old-fashioned movie clapper to create a percussive sound to be used to establish your synchronization point but I never bother with that. It's not really necessary. Just listen to both soundtracks and if you have to, zoom in on the external soundtracks to be able to bump it one way or the other to achieve synchronization against the camcorder microphone. Later muting the camcorder microphone, before rendering or play out.

The production that I have done have been anywhere from 2 to 6 free rolling, simultaneous camcorders. Editing time goes up exponentially with each and every extra camera that has to be stacked into the timelines. Because I don't have the advantage of identical brands and models of camcorders, synchronization between them can become more of a challenge. Much better when you are utilizing identical camcorders that will all exhibit similar results to one another. But that's a luxury for most. As a result, you might find yourself having to split and resynchronize certain camcorders more so than others? Either way, I think you'll be amazed at what you can achieve?

Did I address any of your issues? It's getting late and I'm getting confused. But then I was born that way.
Ms. Remy Ann David

Moderator Joined: Apr 13, 2006 Posts: 121

TuBlairy - that's what I would do in this case. You can simplify alignment later by just giving yourself a slate to sync to at the start of each take. Even if there isn't time or a slate available, it will still work fine doing it manually. As Remy suggested - going 48k will save a step at least.

You should get better audio going direct if you have better pres and converters than what the camera provides.

Posted: Thu Jan 18, 2007 4:35 am

Thanks for the advise.

dterry - Ya, my audio system is basically Brent Averill pre, and a motu 828 - converter isn't great but ok and has 48k option. I was thinking I'd prefer the existing system for audio quality, but was a bit unsure as to whether the sync would be possible. Sounds like it is.

Remy - I want ot get the DPAs hoping use them double-duty for instrumental recording, specifically guitar. I also have an unmatched pair of u87s, which are great, but would get in the way of the video or be too far away to use in this set-up. As recording mics they seem a bit lackluster on the attack side of things, hence my desire to get the DPAs.

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