I have produced MANY lip s


I have produced MANY lip synced music videos over the years, as well as LIVE productions, using multiple cameras.

When producing for independent artists in a controlled environment – their home, home studio, garage, or a rented storage facility stacked with their amps and equipment, where they can “practice” and play til their hearts content without the neighbors yelping about noise to the local PD. This is where you have a choice between and/or lip syncing to a recorded piece(s) they are happy with, or live – either way with repeated performances.

When my groups have been intimately familiar with and solidly attuned to their CDs, and have recorded “live” at reduced volume, but actually syncing to the CD playing at high volume, and have been willing to spend the time doing one, two or several takes for each selection, success is wonderful. There will always be times when the lips and CD music track are not SPOT ON, but close enough that if I have also captured some other stuff – cutaways, alternate shots that do not focus on the lips, hands on keyboards and guitars, etc. side shots, or distance shots, I have been able to hide the second here or there where I cannot get a match.

Also, I have had occasions where their live performances actually came out sounding better, and working better, than with their efforts to sync to the audio CD.

I will NEVER again trust the buy on the boards, the mixer, the house sound – too many times have had to have my systems and cameras audio circuitry repaired due to blown out circuits because this supposedly experienced audio person hits the wrong levels at the wrong time. So, I use on camera mics, with additional and occasional direct feed mics focused on the amp sweet spots and feeding into a board of my own and into an auxiliary wide-shot camera mostly used for direct feed from MY audio mixer. Also, I use a host of Zoom H2 digital recorders placed where I think they are needed.

I have stacked these audio tracks, used them independently, or only one or the other, depending on what I and the talent deems best quality. It takes a LOT of work, but the redundancy of audio acquisition and ways of acquisition is the secret to having enough choices to make SOMETHING work.

My suggestion is to first and foremost try to get several take of the group performing to their prefered CD or other digital sound source via lip sync. From there, I go with the other possibilities I have outlined.

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