Best Audio

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    • #47998
      Avatareckleys
      Participant

      A person has approached me wanting an audition video. She is a singer and is providing her own music and wants a video of her – well, singing. From a video stand point this sounds easy, but she, obviously, wants the best quality audio we can get. I have a Panasonic AG-HMC150 that uses the AVCCAM format. What it does with audio I have no idea. I also use Adobe Premiere Pro/Soundbooth so I have some software to manipulate the audio – however it’s captured.

      Capturing is my question. Should I capture the audio with the camera (and if so, how?) or would I be better served to capture it with another device and load the video and audio into Premiere Pro separately (and sync them up there). We will probably do this in a semi-professional recording studio (I don’t know how well it’s equiped). So, if anyone can point me into a direction of getting the BEST audio on a DVD (like a workflow) – it would be most appreciated.

    • #197444
      AvatarAnonymous
      Inactive

      the best audio is collected as close to the source as possible… that being said, you would probably be served best by using an external mic with a pop filter to get this job done.

    • #197445
      AvatarGrinner Hester
      Participant

      She’ll sing to the playback of the cd and you’ll use the cd as the audio.

    • #197446
      AvatarTv-5 of Hadley
      Participant

      Lip-syncing to a CD (if she has one) is good because you can do multiple takes from different angles, in different costumes, different lighting, etc. to cut together for that “music video” look. BUT, for an audition reel she probably doesn’t NEED or want all that variety. Just a straight-forward shoot with only a couple of camera changes, if any. Assuming she’s actually going to be singing, get the BEST audio you can manage, then feed half of it into the camera (mainly as a reference because of the compression, although it may be sufficient for an audition tape), and the other half into an external recorder — CD, DVD, Mini-Disc or computer recording a WAV file at least — in other words, something you can work with later to importing into your editing equipment if you need it.

      DO NOT USE THE CAMERA MIC. Depending on her “style” she could “croon” into an old-style 50’s chrome stand mic; she could rock into a contemporary stand or hendheld; she could be “in a studio” with headphones, singing thru a pop screen into a fancy condenser diaphragm or ribbon; or you can simply hang the best mic you have just above her (out of frame) and let her get the best take she can, without any visible miking, to just concentrate on her “look”. The point is to do what you have to (including slight processing, although I usually like to get it “raw” as a baseline version) to get the BEST audio you can achieve, inline with her desired performance “look”.

      One tip from me as a union performer, the people getting this audition video will most likely know in the first 30 seconds whether she’s right for them, and they won’t watch any further. So you shouldn’t plan or execute a full-blown “video” with lots of “extras” or fancy shots or lighting. It’s easy to get carried away and want to do your best “stuff”. Remember it’s not YOU they’re auditioning.

      It also helps to Fade up into a title card at the top, to “slate” the thing, giving her name, union affiliation (if any) and contact info. Fade to black just before the video starts and/or make it a seperate track on the finished DVD, so they can bypass it to jump directly to her if they want to show her to someone else.

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