1 00:00:00,000 --> 00:00:03,416 [MUSIC PLAYING] 2 00:00:03,416 --> 00:00:15,622 3 00:00:15,622 --> 00:00:16,830 IAN SEXTON: All right, folks. 4 00:00:16,830 --> 00:00:19,110 Welcome to Digital Media E-5. 5 00:00:19,110 --> 00:00:23,000 Our election tonight is on audio production. 6 00:00:23,000 --> 00:00:24,892 So let's just dive right in. 7 00:00:24,892 --> 00:00:27,350 First thing I'd like to talk to you guys a little bit about 8 00:00:27,350 --> 00:00:31,010 is recording sound, OK? 9 00:00:31,010 --> 00:00:33,792 In order to do that, we're going to use microphones, all right? 10 00:00:33,792 --> 00:00:35,750 It would seem sort of very obvious, but there's 11 00:00:35,750 --> 00:00:37,100 many different kinds of microphones. 12 00:00:37,100 --> 00:00:40,350 So we're going to demystify a little bit of the different types of microphones 13 00:00:40,350 --> 00:00:44,100 and how they can be utilized in different methods. 14 00:00:44,100 --> 00:00:44,600 All right. 15 00:00:44,600 --> 00:00:47,360 So-- if we let this play for a second-- there's 16 00:00:47,360 --> 00:00:49,790 sort of two main categories of microphones 17 00:00:49,790 --> 00:00:51,830 that we're going to deal with, all right? 18 00:00:51,830 --> 00:00:54,620 The first one is a dynamic microphone, and the second one 19 00:00:54,620 --> 00:00:56,630 is a condenser microphone. 20 00:00:56,630 --> 00:00:57,650 OK? 21 00:00:57,650 --> 00:01:00,290 This diagram is describing sort of how they work. 22 00:01:00,290 --> 00:01:01,700 The sound waves come in. 23 00:01:01,700 --> 00:01:04,280 They strike some kind of diaphragm, which 24 00:01:04,280 --> 00:01:07,580 produces an electrical signal, which then runs through the microphone 25 00:01:07,580 --> 00:01:09,620 into your mixer or recorder. 26 00:01:09,620 --> 00:01:16,690 And it's converted into digital audio or analog audio if it's an analog machine. 27 00:01:16,690 --> 00:01:18,460 So dynamic microphones. 28 00:01:18,460 --> 00:01:22,270 So dynamic microphones-- if we sort of look at this circuit a little bit more 29 00:01:22,270 --> 00:01:23,170 closely-- 30 00:01:23,170 --> 00:01:26,770 sound waves will come in, and they'll strike this diaphragm here, OK? 31 00:01:26,770 --> 00:01:32,260 This is just a thin piece of material that flexes when sound waves strike it, 32 00:01:32,260 --> 00:01:40,000 which as it flexes, it causes induction in this magnet and this coil of wire, 33 00:01:40,000 --> 00:01:43,480 which produces a very low voltage audio signal-- 34 00:01:43,480 --> 00:01:45,140 very, very low voltage-- 35 00:01:45,140 --> 00:01:51,210 which is then sent down the cables into your mixer or your recorder, OK? 36 00:01:51,210 --> 00:01:52,960 And so one of the things to think about is 37 00:01:52,960 --> 00:01:56,170 that this is so low voltage that at some point, it needs to be boosted. 38 00:01:56,170 --> 00:01:59,200 So there is a preamp stage at your mixer or recorder, which 39 00:01:59,200 --> 00:02:01,330 will then boost that signal up, OK? 40 00:02:01,330 --> 00:02:05,260 And we'll talk a little bit more about what that means in just a second. 41 00:02:05,260 --> 00:02:09,550 The nice thing about these microphones is that they're unpowered, OK? 42 00:02:09,550 --> 00:02:14,350 They don't require any batteries or any kind of external power 43 00:02:14,350 --> 00:02:15,520 in order to use them. 44 00:02:15,520 --> 00:02:18,820 So they're wonderful for field recordings, OK? 45 00:02:18,820 --> 00:02:24,030 They're also tend to be more robust and more resistant to wear and tear. 46 00:02:24,030 --> 00:02:26,530 If you drop them, you're less likely to destroy them or make 47 00:02:26,530 --> 00:02:29,300 them totally wonky and unfunctional. 48 00:02:29,300 --> 00:02:29,800 All right? 49 00:02:29,800 --> 00:02:34,060 But because they're not powered, they need a stronger preamp, 50 00:02:34,060 --> 00:02:38,390 or they need to be boosted a little bit more than condenser mics. 51 00:02:38,390 --> 00:02:38,890 All right? 52 00:02:38,890 --> 00:02:43,240 And so this preamp becomes an important aspect in our recording sound 53 00:02:43,240 --> 00:02:47,410 because it has a lot of control or effect on the signal overall. 54 00:02:47,410 --> 00:02:51,070 They also tend to be cheaper than condenser mics, OK? 55 00:02:51,070 --> 00:02:54,120 And they're much better for recording louder sounds. 56 00:02:54,120 --> 00:02:56,620 Part of that robustness is actually a translation into being 57 00:02:56,620 --> 00:02:57,940 able to record louder sounds. 58 00:02:57,940 --> 00:02:59,390 They're less delicate. 59 00:02:59,390 --> 00:02:59,890 All right? 60 00:02:59,890 --> 00:03:01,060 So these are generalities. 61 00:03:01,060 --> 00:03:03,910 You will find that there may be condenser mics that 62 00:03:03,910 --> 00:03:06,760 are designed to be recorded for louder sounds 63 00:03:06,760 --> 00:03:10,780 or that are maybe sturdier than one specific dynamic mic. 64 00:03:10,780 --> 00:03:12,880 But this is sort of a general rule of thumb 65 00:03:12,880 --> 00:03:17,680 when thinking about the categorization of a dynamic microphone 66 00:03:17,680 --> 00:03:19,870 and useful for you to decide which microphone might 67 00:03:19,870 --> 00:03:22,662 be best for you in any given situation. 68 00:03:22,662 --> 00:03:24,370 DAN COFFEY: Feel like the classic example 69 00:03:24,370 --> 00:03:28,930 of a microphone that's taken damage is the hand-held microphone that 70 00:03:28,930 --> 00:03:31,962 has a big mash on it from somebody leading into a face plant. 71 00:03:31,962 --> 00:03:33,962 And that's the thing about a dynamic mic, right? 72 00:03:33,962 --> 00:03:37,150 It's because it doesn't actually affect the quality of the mic 73 00:03:37,150 --> 00:03:38,950 as long as you don't completely destroy it. 74 00:03:38,950 --> 00:03:39,100 IAN SEXTON: Yeah. 75 00:03:39,100 --> 00:03:39,430 Exactly. 76 00:03:39,430 --> 00:03:39,610 Right? 77 00:03:39,610 --> 00:03:41,950 So if you were to go for a mic drop or something like that, 78 00:03:41,950 --> 00:03:43,090 I wouldn't drop a condenser mic. 79 00:03:43,090 --> 00:03:44,507 I might drop a dynamic mic, right? 80 00:03:44,507 --> 00:03:46,132 Because then it might still work again. 81 00:03:46,132 --> 00:03:47,965 DAN COFFEY: [INAUDIBLE] is shaking her head. 82 00:03:47,965 --> 00:03:48,730 IAN SEXTON: Yeah. 83 00:03:48,730 --> 00:03:52,892 So a condenser microphone, it's the same sort of idea. 84 00:03:52,892 --> 00:03:54,850 It's just constructed a little bit differently. 85 00:03:54,850 --> 00:03:56,620 The sound waves will come in, and there's 86 00:03:56,620 --> 00:03:59,200 this front plate, which acts sort of as our diaphragm, 87 00:03:59,200 --> 00:04:01,150 and there is another back plate. 88 00:04:01,150 --> 00:04:04,750 And so the electrical signal is caused by these two things 89 00:04:04,750 --> 00:04:08,680 oscillating, getting closer and further apart, OK? 90 00:04:08,680 --> 00:04:12,160 In order for this to actually work though, it does need a battery. 91 00:04:12,160 --> 00:04:16,450 It needs some kind of power source there to charge the circuit. 92 00:04:16,450 --> 00:04:20,500 And that allows that sort of oscillation between these two plates 93 00:04:20,500 --> 00:04:25,090 to adjust some sort of natural voltage that then gets sent back. 94 00:04:25,090 --> 00:04:28,330 Because they are powered, they tend to have a little bit of a stronger 95 00:04:28,330 --> 00:04:31,870 signal coming off the microphone than dynamic mics, which 96 00:04:31,870 --> 00:04:35,380 means you need less work out of your preamp 97 00:04:35,380 --> 00:04:38,170 when you get to your mixer or recorder. 98 00:04:38,170 --> 00:04:41,380 So some generalities that follow condenser mics. 99 00:04:41,380 --> 00:04:43,010 They require power to function. 100 00:04:43,010 --> 00:04:46,000 So if you're out in the middle of a forest somewhere, 101 00:04:46,000 --> 00:04:48,370 this may not be the right choice because at some point, 102 00:04:48,370 --> 00:04:52,000 you're going to run out of power or not have access to power. 103 00:04:52,000 --> 00:04:52,750 OK? 104 00:04:52,750 --> 00:04:55,420 They tend to be more delicate and easy to damage. 105 00:04:55,420 --> 00:04:58,660 So it might be a microphone-- and often you'll 106 00:04:58,660 --> 00:05:02,930 find this the case-- that is used in a studio setting that's very controlled. 107 00:05:02,930 --> 00:05:03,430 OK? 108 00:05:03,430 --> 00:05:06,430 And then great care can be taken with the materials. 109 00:05:06,430 --> 00:05:09,590 And it needs a little bit less grain to increase the preamp, as I said. 110 00:05:09,590 --> 00:05:13,660 And they tend to be more expensive than dynamic mics, OK? 111 00:05:13,660 --> 00:05:19,130 And they have better fidelity when recording delicate sounds. 112 00:05:19,130 --> 00:05:19,630 All right? 113 00:05:19,630 --> 00:05:25,330 So as the sort of general dynamic mics were more suitable for recording louder 114 00:05:25,330 --> 00:05:28,480 sounds, these are much more suitable for getting fidelity 115 00:05:28,480 --> 00:05:31,690 on very sort of delicate, quiet sounds. 116 00:05:31,690 --> 00:05:33,790 OK? 117 00:05:33,790 --> 00:05:39,730 So humans have a range of audio response to different frequencies. 118 00:05:39,730 --> 00:05:45,430 And for most humans, it's about 20 Hertz to 20 kilohertz, OK? 119 00:05:45,430 --> 00:05:48,700 And so that's 20 Hertz to 20,000 Hertz. 120 00:05:48,700 --> 00:05:52,060 And frequencies that fall within that range, we generally can hear. 121 00:05:52,060 --> 00:05:55,930 Though as we sort of age, that sort of creeps in maybe a little bit. 122 00:05:55,930 --> 00:05:58,870 We start to lose the very, very high frequencies. 123 00:05:58,870 --> 00:06:02,210 And there may be some variation on the edges, 124 00:06:02,210 --> 00:06:04,900 but the human voice is somewhere right in the middle of that. 125 00:06:04,900 --> 00:06:10,420 And so microphones are generally tuned to a range of frequency, sort 126 00:06:10,420 --> 00:06:12,130 of a specific range of frequencies. 127 00:06:12,130 --> 00:06:14,670 They have what's called a frequency response 128 00:06:14,670 --> 00:06:17,220 where they're better at responding to certain frequencies 129 00:06:17,220 --> 00:06:18,450 than other frequencies. 130 00:06:18,450 --> 00:06:21,390 Some microphones are designed for more bass sounds, 131 00:06:21,390 --> 00:06:23,370 some are designed for more high sounds. 132 00:06:23,370 --> 00:06:25,740 Most of the microphones that I think we will deal with 133 00:06:25,740 --> 00:06:29,760 are sort of tuned to be at peak efficiency right 134 00:06:29,760 --> 00:06:32,460 in the range of the human voice, which makes sense 135 00:06:32,460 --> 00:06:35,810 because we want to amplify the things that we say. 136 00:06:35,810 --> 00:06:37,620 OK? 137 00:06:37,620 --> 00:06:39,510 So there are some other specialty microphones 138 00:06:39,510 --> 00:06:42,480 that are out there that may be designed for different frequency ranges. 139 00:06:42,480 --> 00:06:44,830 You often find this in musical recordings and things like that. 140 00:06:44,830 --> 00:06:47,130 So there are a lot of different types of microphones. 141 00:06:47,130 --> 00:06:51,390 But your most standard microphones are tuned to the human voice. 142 00:06:51,390 --> 00:06:53,580 So what do these look like. 143 00:06:53,580 --> 00:06:58,290 So I'm sure at some point, we've all seen an internal camera microphone 144 00:06:58,290 --> 00:06:59,730 on a camcorder. 145 00:06:59,730 --> 00:07:02,580 Or if you own a DSLR, maybe there's just one small hole in there 146 00:07:02,580 --> 00:07:04,770 that has some microphone in it. 147 00:07:04,770 --> 00:07:08,490 Or if you have an iPod or an iPhone, right there 148 00:07:08,490 --> 00:07:12,240 is a small opening for a microphone on that. 149 00:07:12,240 --> 00:07:13,890 OK? 150 00:07:13,890 --> 00:07:15,900 So what does an internal microphone sound like? 151 00:07:15,900 --> 00:07:18,540 We put together a little scenario. 152 00:07:18,540 --> 00:07:21,600 We're going to listen to Dan read a storybook a lot today. 153 00:07:21,600 --> 00:07:22,320 DAN COFFEY: It's going to be amazing. 154 00:07:22,320 --> 00:07:22,660 IAN SEXTON: OK? 155 00:07:22,660 --> 00:07:23,493 AUDIENCE: [LAUGHTER] 156 00:07:23,493 --> 00:07:27,600 So just to sort of like quantify what this is, we have a sort of frontal shot 157 00:07:27,600 --> 00:07:32,460 that shows Dan reading the story book. 158 00:07:32,460 --> 00:07:34,960 what type of microphone is listed up in the corner. 159 00:07:34,960 --> 00:07:37,140 There's a VU meter here, which will display levels. 160 00:07:37,140 --> 00:07:39,473 And we'll talk a little bit more about that in a minute. 161 00:07:39,473 --> 00:07:43,080 And we have an overhead shot to just show 162 00:07:43,080 --> 00:07:45,240 the proximity of the different microphones 163 00:07:45,240 --> 00:07:49,110 to the source that's reading this, which is Dan, right? 164 00:07:49,110 --> 00:07:52,440 So there's a boom microphone here, a handheld, a large diaphragm, 165 00:07:52,440 --> 00:07:53,280 he's wearing a lav. 166 00:07:53,280 --> 00:07:56,040 And the internal microphone is on the camera, 167 00:07:56,040 --> 00:07:59,000 which is somewhere even further away. 168 00:07:59,000 --> 00:08:00,180 OK? 169 00:08:00,180 --> 00:08:03,540 So let's listen to what this sounds like. 170 00:08:03,540 --> 00:08:04,530 DAN COFFEY: "Hello. 171 00:08:04,530 --> 00:08:07,890 My name is Marlon Bundo, and I am a bunny. 172 00:08:07,890 --> 00:08:12,420 I live with my mom, grandma, and grandpa in an old stuffy house on the grounds 173 00:08:12,420 --> 00:08:14,460 of the US Naval Observatory. 174 00:08:14,460 --> 00:08:17,460 That's because my grandpa is the vice president. 175 00:08:17,460 --> 00:08:19,830 His name is Mike Pence. 176 00:08:19,830 --> 00:08:23,730 But this story isn't going to be about him because he isn't very fun. 177 00:08:23,730 --> 00:08:27,810 This story is about me because I'm very fun. 178 00:08:27,810 --> 00:08:31,163 This is the story of my very special day." 179 00:08:31,163 --> 00:08:32,080 IAN SEXTON: All right. 180 00:08:32,080 --> 00:08:33,038 So let's take a moment. 181 00:08:33,038 --> 00:08:36,546 What did you hear in that recording? 182 00:08:36,546 --> 00:08:37,872 AUDIENCE: A lot of other noise. 183 00:08:37,872 --> 00:08:39,539 IAN SEXTON: A lot of other noise, right? 184 00:08:39,539 --> 00:08:42,960 We could hear a lot of air conditioning vents. 185 00:08:42,960 --> 00:08:46,110 I think someone was putting something down on a table in the background. 186 00:08:46,110 --> 00:08:49,950 I heard someone do something like a little [TAPPING] like that in the back. 187 00:08:49,950 --> 00:08:56,715 So there was a lot of other noise that we picked up in this recording 188 00:08:56,715 --> 00:08:58,590 that we don't sort of notice in the recording 189 00:08:58,590 --> 00:09:00,132 that I'm giving you right now, right? 190 00:09:00,132 --> 00:09:03,080 So there's something different going on with this microphone. 191 00:09:03,080 --> 00:09:05,140 OK. 192 00:09:05,140 --> 00:09:05,640 All right. 193 00:09:05,640 --> 00:09:08,915 So another type of microphone is a hand-held microphone. 194 00:09:08,915 --> 00:09:11,790 And we may have all seen these at sort of a rock concert or something 195 00:09:11,790 --> 00:09:13,520 like that or at any kind of presentation. 196 00:09:13,520 --> 00:09:15,270 This microphone you can hold in your hand. 197 00:09:15,270 --> 00:09:17,790 You put it to your mouth and you can speak into it, OK? 198 00:09:17,790 --> 00:09:20,190 So for our purposes, we clamped it to a small clamp 199 00:09:20,190 --> 00:09:26,773 here in a reasonable position, pointed it at our source's mouth. 200 00:09:26,773 --> 00:09:28,440 And let's listen to what it sounds like. 201 00:09:28,440 --> 00:09:29,232 DAN COFFEY: "Hello. 202 00:09:29,232 --> 00:09:32,100 My name is Marlon Bundo, and I am a bunny. 203 00:09:32,100 --> 00:09:36,660 I live with my mom, grandma, and grandpa in an old stuffy house on the grounds 204 00:09:36,660 --> 00:09:38,670 of the US Naval Observatory. 205 00:09:38,670 --> 00:09:41,670 That's because my grandpa is the vice president. 206 00:09:41,670 --> 00:09:44,010 His name is Mike Pence. 207 00:09:44,010 --> 00:09:47,970 But this story isn't going to be about him because he isn't very fun. 208 00:09:47,970 --> 00:09:52,050 This story is about me because I'm very fun. 209 00:09:52,050 --> 00:09:55,950 This is the story of my very special day." 210 00:09:55,950 --> 00:09:58,561 IAN SEXTON: So what did you hear in this recording? 211 00:09:58,561 --> 00:10:03,860 212 00:10:03,860 --> 00:10:05,920 AUDIENCE: Well, he sounds closer. 213 00:10:05,920 --> 00:10:09,350 There's less ambient noise. 214 00:10:09,350 --> 00:10:10,970 IAN SEXTON: Mm-hmm. 215 00:10:10,970 --> 00:10:13,928 AUDIENCE: But we could also hear somebody else in the background laugh. 216 00:10:13,928 --> 00:10:15,803 IAN SEXTON: That might have been actually one 217 00:10:15,803 --> 00:10:17,530 of our audience members here. 218 00:10:17,530 --> 00:10:18,030 [LAUGHS] 219 00:10:18,030 --> 00:10:18,738 AUDIENCE: Oh, OK. 220 00:10:18,738 --> 00:10:19,550 [LAUGHS] 221 00:10:19,550 --> 00:10:20,300 IAN SEXTON: Right. 222 00:10:20,300 --> 00:10:20,510 So-- 223 00:10:20,510 --> 00:10:20,880 AUDIENCE: Stop it. 224 00:10:20,880 --> 00:10:22,130 You can't tell the difference. 225 00:10:22,130 --> 00:10:25,562 AUDIENCE: He was certainly a lot warmer and bigger in the bottom end. 226 00:10:25,562 --> 00:10:26,270 IAN SEXTON: Yeah. 227 00:10:26,270 --> 00:10:30,120 So there's two things that's happening here. 228 00:10:30,120 --> 00:10:34,550 There's a proximity issue where the internal microphone is much further 229 00:10:34,550 --> 00:10:36,680 away from the subject. 230 00:10:36,680 --> 00:10:42,200 So in order to get the same kind of recording out of it to boost the gain, 231 00:10:42,200 --> 00:10:44,450 you have to increase the sensitivity, which picks up 232 00:10:44,450 --> 00:10:46,680 a lot of other weird noise around it. 233 00:10:46,680 --> 00:10:48,830 It's also not very directional, so it's picking up 234 00:10:48,830 --> 00:10:52,100 lots of noise between the camera and the subject. 235 00:10:52,100 --> 00:10:55,670 There's lots of things that may be happening in that space. 236 00:10:55,670 --> 00:10:58,040 Where the handheld is much closer, so there's 237 00:10:58,040 --> 00:11:02,540 less opportunity for other noises to sort of insert itself in between that. 238 00:11:02,540 --> 00:11:05,300 You don't need to have the sensitivity of the microphone 239 00:11:05,300 --> 00:11:07,640 up as high because it's closer, right? 240 00:11:07,640 --> 00:11:11,930 So at the end of the day, proximity is going to be key when using microphones. 241 00:11:11,930 --> 00:11:16,340 That is your sort of greatest indicator of success 242 00:11:16,340 --> 00:11:19,610 will be how close your microphone is to your subject. 243 00:11:19,610 --> 00:11:20,870 All right? 244 00:11:20,870 --> 00:11:24,230 And I think, Alec, you mentioned too that it sounded warmer maybe. 245 00:11:24,230 --> 00:11:25,921 Is that you said? 246 00:11:25,921 --> 00:11:26,546 AUDIENCE: Yeah. 247 00:11:26,546 --> 00:11:28,710 It sounded a lot warmer, a lot fuller. 248 00:11:28,710 --> 00:11:31,760 I also on that one heard the size of the room. 249 00:11:31,760 --> 00:11:33,890 The room sounded a whole lot smaller. 250 00:11:33,890 --> 00:11:38,050 I could hear a very short reverb time, which I couldn't 251 00:11:38,050 --> 00:11:40,320 on the thinner sounding first pass. 252 00:11:40,320 --> 00:11:41,070 IAN SEXTON: Right. 253 00:11:41,070 --> 00:11:41,390 Right. 254 00:11:41,390 --> 00:11:43,130 And it may have been that there was just so much other ambient 255 00:11:43,130 --> 00:11:46,088 noise that that little bit of reverb that you might hear was just lost, 256 00:11:46,088 --> 00:11:50,610 was covered up by the air conditioning vents and other things. 257 00:11:50,610 --> 00:11:54,890 But so this idea that his voice has a little bit more warmth 258 00:11:54,890 --> 00:11:59,900 in it is this idea of timber, that there is sort of a range of frequencies 259 00:11:59,900 --> 00:12:02,120 that we each talk with, right? 260 00:12:02,120 --> 00:12:04,850 You know the sound of someone else's voice 261 00:12:04,850 --> 00:12:06,890 if you've come to hear it a bunch. 262 00:12:06,890 --> 00:12:11,360 But the way the microphone records that is sort of different per microphone, 263 00:12:11,360 --> 00:12:11,930 right? 264 00:12:11,930 --> 00:12:13,910 They each have different frequency responses. 265 00:12:13,910 --> 00:12:18,200 So even though we hear our voice sounds one way, when oftentimes we 266 00:12:18,200 --> 00:12:21,110 listen to a recording of ourselves, we're like, oh, my god. 267 00:12:21,110 --> 00:12:23,840 I can't believe that's how my voice sounds. 268 00:12:23,840 --> 00:12:24,650 Right? 269 00:12:24,650 --> 00:12:28,130 So we're punishing Dan in today's lecture. 270 00:12:28,130 --> 00:12:28,700 OK. 271 00:12:28,700 --> 00:12:30,650 So this is beginning to sort of dive into the fact 272 00:12:30,650 --> 00:12:33,530 that there is this idea that there's this frequency response that can 273 00:12:33,530 --> 00:12:35,160 be different between the microphones. 274 00:12:35,160 --> 00:12:39,620 There can be different proximity affects between microphones. 275 00:12:39,620 --> 00:12:42,200 So the other microphone that we are using here 276 00:12:42,200 --> 00:12:46,707 is a lav microphone, which comes either wired or wireless, OK? 277 00:12:46,707 --> 00:12:48,290 Right now, I'm wearing a wireless lav. 278 00:12:48,290 --> 00:12:52,850 I have a transmitter in my back pocket, and there's a receiver over there. 279 00:12:52,850 --> 00:12:56,530 And it's digitizing my audio and sending it to that location, 280 00:12:56,530 --> 00:12:58,993 and then it's getting beamed out to you via-- 281 00:12:58,993 --> 00:12:59,660 AUDIENCE: Magic. 282 00:12:59,660 --> 00:13:00,785 IAN SEXTON: --magic, right? 283 00:13:00,785 --> 00:13:03,630 Other wires and cables and wireless signals. 284 00:13:03,630 --> 00:13:04,668 OK. 285 00:13:04,668 --> 00:13:07,210 So one of the things to think about with wireless frequencies 286 00:13:07,210 --> 00:13:12,710 is that if you're transmitting something over some frequency range, 287 00:13:12,710 --> 00:13:15,260 that you could possibly have interference on that. 288 00:13:15,260 --> 00:13:20,180 So most all of these wireless lavs allow you to scan and select 289 00:13:20,180 --> 00:13:21,150 different frequencies. 290 00:13:21,150 --> 00:13:23,358 So if you ever get the chance to use a set like this, 291 00:13:23,358 --> 00:13:26,630 or if you rent one or something like that, 292 00:13:26,630 --> 00:13:29,060 know that you should scan the area for what 293 00:13:29,060 --> 00:13:31,250 frequencies have lots of interference on them 294 00:13:31,250 --> 00:13:37,360 and choose a different frequency, OK? 295 00:13:37,360 --> 00:13:37,860 All right. 296 00:13:37,860 --> 00:13:41,360 So let's take a listen and hear what the lavalier sounds-- and proximity wise, 297 00:13:41,360 --> 00:13:44,608 the lavalier is pretty much pinned to his sternum. 298 00:13:44,608 --> 00:13:45,275 It's not pinned. 299 00:13:45,275 --> 00:13:46,233 It's actually a magnet. 300 00:13:46,233 --> 00:13:47,540 It's fantastic. 301 00:13:47,540 --> 00:13:48,560 DAN COFFEY: "Hello. 302 00:13:48,560 --> 00:13:51,890 My name is Marlon Bundo, and I am a bunny. 303 00:13:51,890 --> 00:13:56,450 I live with my mom, grandma, and grandpa in an old stuffy house on the grounds 304 00:13:56,450 --> 00:13:58,460 of the US Naval Observatory. 305 00:13:58,460 --> 00:14:01,460 That's because my grandpa is the vice president. 306 00:14:01,460 --> 00:14:03,830 His name is Mike Pence. 307 00:14:03,830 --> 00:14:07,760 But this story isn't going to be about him because he isn't very fun. 308 00:14:07,760 --> 00:14:11,840 This story is about me because I'm very fun. 309 00:14:11,840 --> 00:14:15,640 This is the story of my very special day." 310 00:14:15,640 --> 00:14:17,015 IAN SEXTON: So what did you hear? 311 00:14:17,015 --> 00:14:24,910 312 00:14:24,910 --> 00:14:31,618 Did you hear any more of this sort of ambient noise space of the room? 313 00:14:31,618 --> 00:14:33,910 AUDIENCE: There was some reverb there at the beginning. 314 00:14:33,910 --> 00:14:34,660 IAN SEXTON: Mm-hmm 315 00:14:34,660 --> 00:14:37,368 AUDIENCE: It just lasted for a short time, and then it went away. 316 00:14:37,368 --> 00:14:39,138 So that was kind of strange I thought. 317 00:14:39,138 --> 00:14:40,430 IAN SEXTON: That's interesting. 318 00:14:40,430 --> 00:14:45,760 So because this is playing in the house here, and I'm wearing a microphone, 319 00:14:45,760 --> 00:14:49,060 there's some delay between the signal that's coming out of my laptop 320 00:14:49,060 --> 00:14:52,750 and it playing in the speakers and arriving at my microphone 321 00:14:52,750 --> 00:14:55,660 and getting re-injected back into the system, which 322 00:14:55,660 --> 00:14:57,550 is that sort of idea of feedback. 323 00:14:57,550 --> 00:15:00,003 So all of these videos, we'll make a folder 324 00:15:00,003 --> 00:15:02,170 so you can go and listen to them with headphones on, 325 00:15:02,170 --> 00:15:05,470 which I do sort of encourage you to do because then you can-- and back 326 00:15:05,470 --> 00:15:08,680 to back, you can really begin to hear the different responses 327 00:15:08,680 --> 00:15:10,120 of the microphones. 328 00:15:10,120 --> 00:15:15,130 But again, this mic is incredibly proximal to our audio source, OK? 329 00:15:15,130 --> 00:15:17,190 It's very clean sounding. 330 00:15:17,190 --> 00:15:21,040 It's sort of maybe not as rich or warm as the handheld, 331 00:15:21,040 --> 00:15:26,290 because the capsule that's inside it is much smaller, you know? 332 00:15:26,290 --> 00:15:30,310 And that affects the range of frequencies that it's responding to. 333 00:15:30,310 --> 00:15:33,490 And it responds to them in slightly different ways than the larger 334 00:15:33,490 --> 00:15:35,670 element of the handheld. 335 00:15:35,670 --> 00:15:36,790 OK? 336 00:15:36,790 --> 00:15:41,458 But the benefit is that you get it very proximal to your subject, 337 00:15:41,458 --> 00:15:42,250 and it stays there. 338 00:15:42,250 --> 00:15:44,667 If I had a handheld, I could sort of be talking like this, 339 00:15:44,667 --> 00:15:47,260 and then maybe I get lazy, and it's pointed over here. 340 00:15:47,260 --> 00:15:48,340 It's not as close, right? 341 00:15:48,340 --> 00:15:51,700 So it's very consistent. 342 00:15:51,700 --> 00:15:52,540 All right. 343 00:15:52,540 --> 00:15:54,210 So shotgun microphones. 344 00:15:54,210 --> 00:15:55,960 This is a standard microphone mount, which 345 00:15:55,960 --> 00:16:00,230 you might see used with a hand-held microphone and/or a shotgun microphone, 346 00:16:00,230 --> 00:16:00,730 OK? 347 00:16:00,730 --> 00:16:03,220 As we get fancier, we might step up to this, 348 00:16:03,220 --> 00:16:05,890 which is a pistol grip shock mount. 349 00:16:05,890 --> 00:16:08,380 So the microphone is actually mounted on a set 350 00:16:08,380 --> 00:16:14,380 of elastics, which allow the microphone to sway in that cage 351 00:16:14,380 --> 00:16:18,520 so that any sort of movement of the microphone-- 352 00:16:18,520 --> 00:16:21,040 if you move it, it doesn't add noise into it. 353 00:16:21,040 --> 00:16:24,083 Because a microphone, if you tap it-- 354 00:16:24,083 --> 00:16:27,250 I really want to do it, but I won't do it to everyone that's walking online. 355 00:16:27,250 --> 00:16:32,296 But if you tap it, it will actually send sound into-- 356 00:16:32,296 --> 00:16:34,247 or turn that into sound just in the same way 357 00:16:34,247 --> 00:16:35,830 that sound waves are sort of pressure. 358 00:16:35,830 --> 00:16:37,660 They're sort of moving on the diaphragm. 359 00:16:37,660 --> 00:16:41,230 Any sort of physical jostling will be transformed into sound. 360 00:16:41,230 --> 00:16:44,560 So the shock mount becomes important for that. 361 00:16:44,560 --> 00:16:46,030 OK. 362 00:16:46,030 --> 00:16:48,940 This also is equipped with a Zeppelin, OK? 363 00:16:48,940 --> 00:16:52,270 This is what you may see sort of on a film set or something like that. 364 00:16:52,270 --> 00:16:55,900 This reduces the wind noise that might be coming over the microphone. 365 00:16:55,900 --> 00:16:59,397 I think we've all been outside or seen a recording where someone's been outside 366 00:16:59,397 --> 00:17:02,230 and it sounds like there's this whooshing wind that's going over it. 367 00:17:02,230 --> 00:17:05,260 And that's literally just wind blowing over the microphone diaphragm 368 00:17:05,260 --> 00:17:10,627 and causing it to vibrate at some sort of bass level. 369 00:17:10,627 --> 00:17:12,460 And then you can go even further and you can 370 00:17:12,460 --> 00:17:14,377 add this WindScreen, which is sometimes called 371 00:17:14,377 --> 00:17:17,680 a Dead Cat, which further reduces the amount of wind that 372 00:17:17,680 --> 00:17:21,609 strikes the diaphragm. 373 00:17:21,609 --> 00:17:22,300 OK. 374 00:17:22,300 --> 00:17:24,172 So what does this sound like though? 375 00:17:24,172 --> 00:17:25,089 So this is a boom mic. 376 00:17:25,089 --> 00:17:27,670 So right here is the shotgun mic in the pistol grip. 377 00:17:27,670 --> 00:17:31,252 It's actually on a extensible pull, which is called a boom 378 00:17:31,252 --> 00:17:32,710 pull, that you hold over your head. 379 00:17:32,710 --> 00:17:37,120 And you can point it at different sources. 380 00:17:37,120 --> 00:17:38,140 DAN COFFEY: "Hello. 381 00:17:38,140 --> 00:17:41,470 My name is Marlon Bundo, and I am a bunny. 382 00:17:41,470 --> 00:17:46,030 I live with my mom, grandma, and grandpa in an old stuffy house on the grounds 383 00:17:46,030 --> 00:17:48,040 of the US Naval Observatory. 384 00:17:48,040 --> 00:17:51,040 That's because my grandpa is the vice president. 385 00:17:51,040 --> 00:17:53,410 His name is Mike Pence. 386 00:17:53,410 --> 00:17:57,340 But this story isn't going to be about him because he isn't very fun. 387 00:17:57,340 --> 00:18:01,420 This story is about me because I'm very fun. 388 00:18:01,420 --> 00:18:05,498 This is the story of my very special day. 389 00:18:05,498 --> 00:18:07,290 It's so nice to hear this again and again." 390 00:18:07,290 --> 00:18:07,850 IAN SEXTON: I know. 391 00:18:07,850 --> 00:18:08,080 I know. 392 00:18:08,080 --> 00:18:10,058 We should have maybe chose different pages. 393 00:18:10,058 --> 00:18:12,100 These were all recorded at exactly the same time. 394 00:18:12,100 --> 00:18:13,930 So this is one reading. 395 00:18:13,930 --> 00:18:16,568 This is one reading with different microphone inputs 396 00:18:16,568 --> 00:18:17,860 that were recorded and tracked. 397 00:18:17,860 --> 00:18:20,920 So Dan is not reading this differently. 398 00:18:20,920 --> 00:18:25,870 It is the exact same reading for each one of these microphone recordings, OK? 399 00:18:25,870 --> 00:18:28,460 So just to be clear about that. 400 00:18:28,460 --> 00:18:30,700 But what did you hear in this that's different? 401 00:18:30,700 --> 00:18:33,200 AUDIENCE: I think-- I don't know if I picked this up before. 402 00:18:33,200 --> 00:18:36,292 But how he turned the pages basically. 403 00:18:36,292 --> 00:18:37,000 IAN SEXTON: Yeah. 404 00:18:37,000 --> 00:18:37,500 OK. 405 00:18:37,500 --> 00:18:41,620 So you actually heard a little bit more of his physical activity close 406 00:18:41,620 --> 00:18:42,410 to his body. 407 00:18:42,410 --> 00:18:43,660 OK, that's really interesting. 408 00:18:43,660 --> 00:18:46,902 And there might be a very good reason for that, which we'll see in a moment. 409 00:18:46,902 --> 00:18:47,860 What else did you hear? 410 00:18:47,860 --> 00:18:51,440 411 00:18:51,440 --> 00:18:55,040 AUDIENCE: There was very little room sound on there. 412 00:18:55,040 --> 00:19:01,310 And the presence, the [INAUDIBLE] sounded a lot more natural than-- 413 00:19:01,310 --> 00:19:04,910 the lav sounded very EQ'ed for the top end. 414 00:19:04,910 --> 00:19:10,140 But that one had a clarity that just didn't sound like EQ. 415 00:19:10,140 --> 00:19:12,380 It sounded very natural. 416 00:19:12,380 --> 00:19:14,330 And then in the bottom end, it didn't quite 417 00:19:14,330 --> 00:19:18,710 have the warmth of the proximity of the handheld. 418 00:19:18,710 --> 00:19:19,680 IAN SEXTON: Right. 419 00:19:19,680 --> 00:19:20,180 Right. 420 00:19:20,180 --> 00:19:23,213 So again, a much different frequency response. 421 00:19:23,213 --> 00:19:25,130 But you did say that there was less room tone. 422 00:19:25,130 --> 00:19:28,130 Did anyone pick up on any sort of ambience in the microphone 423 00:19:28,130 --> 00:19:32,120 or any sort of noise that they might have heard in comparison 424 00:19:32,120 --> 00:19:36,120 to, say, the lav or even the handheld? 425 00:19:36,120 --> 00:19:38,980 AUDIENCE: It seemed like you could hear a little bit. 426 00:19:38,980 --> 00:19:39,560 I don't know. 427 00:19:39,560 --> 00:19:40,268 IAN SEXTON: Yeah. 428 00:19:40,268 --> 00:19:43,550 If we go back and listen to these again, what 429 00:19:43,550 --> 00:19:45,920 you'll find in this shotgun microphone is 430 00:19:45,920 --> 00:19:49,700 that there is a little bit of ambience more so than in the lav, 431 00:19:49,700 --> 00:19:52,850 I think, and more so than in the handheld, but much 432 00:19:52,850 --> 00:19:54,900 less than the internal mic, right? 433 00:19:54,900 --> 00:19:55,400 OK. 434 00:19:55,400 --> 00:19:59,870 And so this is the compromise of the boom microphone, 435 00:19:59,870 --> 00:20:02,810 whereas if we were filming a narrative scene, 436 00:20:02,810 --> 00:20:06,290 we wouldn't want to be able to see the lav because that sort of ruins 437 00:20:06,290 --> 00:20:08,660 the suspension of disbelief, right? 438 00:20:08,660 --> 00:20:12,190 Microphones in front of the person's face-- again, we're doing that. 439 00:20:12,190 --> 00:20:15,200 We're reducing our suspension of disbelief. 440 00:20:15,200 --> 00:20:17,850 But the boom microphone is, for the most part-- 441 00:20:17,850 --> 00:20:20,480 except for the one moment where I dip it in the top-- 442 00:20:20,480 --> 00:20:21,890 out of frame. 443 00:20:21,890 --> 00:20:23,030 OK? 444 00:20:23,030 --> 00:20:25,150 DAN COFFEY: And, Ian, you're saying boom microphone and shotgun microphone. 445 00:20:25,150 --> 00:20:25,440 IAN SEXTON: Yeah. 446 00:20:25,440 --> 00:20:26,150 So I'm sorry. 447 00:20:26,150 --> 00:20:26,650 Sorry. 448 00:20:26,650 --> 00:20:30,020 So it's a shotgun microphone on a boom pole. 449 00:20:30,020 --> 00:20:33,050 So I sort of conflate the two in my everyday 450 00:20:33,050 --> 00:20:37,640 just because of jargon essentially. 451 00:20:37,640 --> 00:20:43,000 But this is essentially a hypercardioid shotgun a microphone in a boom pole. 452 00:20:43,000 --> 00:20:45,500 We'll talk a little bit about what that hypercardioid means, 453 00:20:45,500 --> 00:20:47,170 but that's essentially saying that it's directional. 454 00:20:47,170 --> 00:20:47,570 DAN COFFEY: Yeah. 455 00:20:47,570 --> 00:20:49,487 And I think that's a common thing to hear too. 456 00:20:49,487 --> 00:20:50,840 It's not just-- you know? 457 00:20:50,840 --> 00:20:53,600 IAN SEXTON: But to be clear-- so this gives you 458 00:20:53,600 --> 00:20:58,520 this benefit of having a microphone be as proximal as possible while 459 00:20:58,520 --> 00:21:01,130 also being out of frame. 460 00:21:01,130 --> 00:21:01,790 OK? 461 00:21:01,790 --> 00:21:06,320 But in doing so, it does pick up a little bit more 462 00:21:06,320 --> 00:21:10,130 of the sort of ambient space than a microphone that 463 00:21:10,130 --> 00:21:12,230 is sort of right here or right here. 464 00:21:12,230 --> 00:21:13,652 AUDIENCE: That's due to proximity? 465 00:21:13,652 --> 00:21:14,360 IAN SEXTON: Yeah. 466 00:21:14,360 --> 00:21:17,235 It's proximity, and it's also the way the pickup patterns are shaped. 467 00:21:17,235 --> 00:21:20,930 And we'll look at and explain what a pickup pattern is in a minute. 468 00:21:20,930 --> 00:21:22,970 But this is the sort of compromise that you 469 00:21:22,970 --> 00:21:25,700 make to keep your microphones out of shot and out 470 00:21:25,700 --> 00:21:30,350 of frame is that you're willing to accept a little bit of ambience, 471 00:21:30,350 --> 00:21:31,460 but not a ton. 472 00:21:31,460 --> 00:21:32,390 Yes, a question. 473 00:21:32,390 --> 00:21:35,345 AUDIENCE: How-- can shot selection also potentially configure 474 00:21:35,345 --> 00:21:36,552 into that as well there? 475 00:21:36,552 --> 00:21:37,260 IAN SEXTON: Yeah. 476 00:21:37,260 --> 00:21:40,150 So if you have a very wide shot, you are not 477 00:21:40,150 --> 00:21:43,130 going to be able to get a boom as close as you could 478 00:21:43,130 --> 00:21:46,130 if you had a very tight shot, right? 479 00:21:46,130 --> 00:21:48,797 Because the frame is tighter, so you can get the boom in closer. 480 00:21:48,797 --> 00:21:51,380 But if you have a very wide shot where you can see everything, 481 00:21:51,380 --> 00:21:53,540 you've got to pull the boom back, which means 482 00:21:53,540 --> 00:21:56,510 the shotgun mic will be further away. 483 00:21:56,510 --> 00:21:58,520 But as you get wider and wider and wider, maybe 484 00:21:58,520 --> 00:22:02,090 then you can actually hide a lav more easily, right? 485 00:22:02,090 --> 00:22:04,610 So there's this sort of trade between what 486 00:22:04,610 --> 00:22:08,990 is the appropriate microphone for a given situation. 487 00:22:08,990 --> 00:22:11,160 All right? 488 00:22:11,160 --> 00:22:14,880 DAN COFFEY: And another benefit maybe to the shotgun microphone on the boom 489 00:22:14,880 --> 00:22:18,748 pole is that it's the only one that is actually being hand operated 490 00:22:18,748 --> 00:22:20,040 by somebody in our set up here. 491 00:22:20,040 --> 00:22:23,100 So if you're actually having a conversation between two people, 492 00:22:23,100 --> 00:22:25,620 whoever your boom operator is can swing that back and forth 493 00:22:25,620 --> 00:22:26,718 between the two people. 494 00:22:26,718 --> 00:22:28,260 IAN SEXTON: But not even that, right? 495 00:22:28,260 --> 00:22:31,800 We've dealt with video for this last assignment, 496 00:22:31,800 --> 00:22:34,590 and we had our subjects who are now moving in space, right? 497 00:22:34,590 --> 00:22:37,860 So the lav is awesome because it stays on my body and moves with me. 498 00:22:37,860 --> 00:22:39,900 But if I don't want to see this lav, then I 499 00:22:39,900 --> 00:22:43,980 need a boom mic, which means I can then have an operator, a boom operator, who 500 00:22:43,980 --> 00:22:50,250 will move with your subject or be able to pan the boom between two 501 00:22:50,250 --> 00:22:51,630 different subjects. 502 00:22:51,630 --> 00:22:53,190 OK? 503 00:22:53,190 --> 00:22:56,730 So the other mic that we have is a large diaphragm mic, 504 00:22:56,730 --> 00:22:58,350 which is sort of an interesting mic. 505 00:22:58,350 --> 00:23:00,890 And you can actually see this sort of large-- 506 00:23:00,890 --> 00:23:04,927 the diaphragm in the microphone through the mesh. 507 00:23:04,927 --> 00:23:06,510 And this is an interesting microphone. 508 00:23:06,510 --> 00:23:10,230 It's a condenser microphone, and it's often used in studio settings. 509 00:23:10,230 --> 00:23:10,800 All right? 510 00:23:10,800 --> 00:23:12,670 Because it tends to be fairly delicate. 511 00:23:12,670 --> 00:23:14,850 And let's listen to what this sounds like. 512 00:23:14,850 --> 00:23:15,900 DAN COFFEY: "Hello. 513 00:23:15,900 --> 00:23:19,230 My name is Marlon Bundo, and I am a bunny. 514 00:23:19,230 --> 00:23:21,840 I live with my mom, grandma, and grandpa, 515 00:23:21,840 --> 00:23:25,770 in an old stuffy house on the grounds of the US Naval Observatory. 516 00:23:25,770 --> 00:23:28,770 That's because my grandpa is the vice president. 517 00:23:28,770 --> 00:23:31,140 His name is Mike Pence. 518 00:23:31,140 --> 00:23:35,100 But this story isn't going to be about him because he isn't very fun. 519 00:23:35,100 --> 00:23:39,180 This story is about me because I'm very fun. 520 00:23:39,180 --> 00:23:41,520 This is the story of my very special day." 521 00:23:41,520 --> 00:23:44,390 522 00:23:44,390 --> 00:23:45,300 IAN SEXTON: OK. 523 00:23:45,300 --> 00:23:47,786 So what did you hear with that? 524 00:23:47,786 --> 00:23:49,255 AUDIENCE: Nice sound. 525 00:23:49,255 --> 00:23:49,880 AUDIENCE: Yeah. 526 00:23:49,880 --> 00:23:52,920 It was very sort of clean maybe. 527 00:23:52,920 --> 00:23:54,480 AUDIENCE: It was balanced. 528 00:23:54,480 --> 00:23:55,650 IAN SEXTON: OK. 529 00:23:55,650 --> 00:23:58,080 So balanced due to-- what do you mean by balanced? 530 00:23:58,080 --> 00:23:59,580 It sounded-- 531 00:23:59,580 --> 00:24:02,650 AUDIENCE: To me, it sounded the most natural, sounded the most full. 532 00:24:02,650 --> 00:24:08,890 And it didn't sound too much bass and much treble. 533 00:24:08,890 --> 00:24:10,500 It sounded well. 534 00:24:10,500 --> 00:24:12,925 IAN SEXTON: OK. 535 00:24:12,925 --> 00:24:16,170 DAN COFFEY: So maybe the most accurate sound reproduction 536 00:24:16,170 --> 00:24:17,390 of all the options maybe? 537 00:24:17,390 --> 00:24:18,565 AUDIENCE: That's [INAUDIBLE] using that. 538 00:24:18,565 --> 00:24:19,010 Yep. 539 00:24:19,010 --> 00:24:19,718 IAN SEXTON: Yeah. 540 00:24:19,718 --> 00:24:26,220 And so the large diaphragms are good for picking up bass sounds and things 541 00:24:26,220 --> 00:24:30,108 like that and give you sort of a more robust frequency response 542 00:24:30,108 --> 00:24:32,400 to get a better match to the timber of someone's voice. 543 00:24:32,400 --> 00:24:34,150 So yeah. 544 00:24:34,150 --> 00:24:34,650 Absolutely. 545 00:24:34,650 --> 00:24:36,754 I think that's a good assessment. 546 00:24:36,754 --> 00:24:37,296 AUDIENCE: Oh. 547 00:24:37,296 --> 00:24:39,792 Can you just explain the pop shield on that as well? 548 00:24:39,792 --> 00:24:40,500 IAN SEXTON: Yeah. 549 00:24:40,500 --> 00:24:45,960 So what is being referred to is this pop shield, 550 00:24:45,960 --> 00:24:50,940 which is this circular mesh that's hanging in front of the microphone. 551 00:24:50,940 --> 00:24:53,110 This serves two purposes. 552 00:24:53,110 --> 00:24:57,090 So when you are speaking and you expel air often 553 00:24:57,090 --> 00:25:01,770 through pops and P's and purposes, it will actually strike the diaphragm 554 00:25:01,770 --> 00:25:03,960 and will sound much like a pop. 555 00:25:03,960 --> 00:25:08,040 It'll be like you'll hear the breath of air strike the microphone. 556 00:25:08,040 --> 00:25:11,550 And so what this does is sort of reduces that 557 00:25:11,550 --> 00:25:15,450 pop by putting a interference screen in the way of it. 558 00:25:15,450 --> 00:25:20,850 It also is very helpful for people who have not used microphones a lot 559 00:25:20,850 --> 00:25:26,520 and tend to get too close or vary their distance in a strange way, 560 00:25:26,520 --> 00:25:28,830 that you can put this shield there, and that's as close 561 00:25:28,830 --> 00:25:30,520 as they can get to the microphone. 562 00:25:30,520 --> 00:25:31,020 OK? 563 00:25:31,020 --> 00:25:33,870 So it's effective for a couple of different uses. 564 00:25:33,870 --> 00:25:37,350 But essentially, it's to minimize the breathiness and the popping 565 00:25:37,350 --> 00:25:44,890 that you get in with certain speakers and their enunciation. 566 00:25:44,890 --> 00:25:45,390 All right. 567 00:25:45,390 --> 00:25:45,890 Oop. 568 00:25:45,890 --> 00:25:47,130 Nope. 569 00:25:47,130 --> 00:25:47,797 Nope, not again. 570 00:25:47,797 --> 00:25:49,588 DAN COFFEY: I can do it live if you'd like. 571 00:25:49,588 --> 00:25:50,135 [LAUGHTER] 572 00:25:50,135 --> 00:25:50,760 IAN SEXTON: OK. 573 00:25:50,760 --> 00:25:55,740 So we just looked at five sort of different physical types 574 00:25:55,740 --> 00:25:58,350 of microphones. 575 00:25:58,350 --> 00:26:04,110 But we should really express that the physical shape of a microphone 576 00:26:04,110 --> 00:26:08,910 does not necessarily define its pickup pattern, OK? 577 00:26:08,910 --> 00:26:13,470 And what a pickup pattern is is how sensitive a microphone 578 00:26:13,470 --> 00:26:16,920 is in a specific direction. 579 00:26:16,920 --> 00:26:18,000 OK? 580 00:26:18,000 --> 00:26:20,130 So there are a few different pickup patterns. 581 00:26:20,130 --> 00:26:24,030 There is an omnidirectional pickup pattern, 582 00:26:24,030 --> 00:26:32,130 which, as the "omni" sort of suggests, is a large sphere around the diaphragm 583 00:26:32,130 --> 00:26:36,240 and really picks up sounds from all directions, OK? 584 00:26:36,240 --> 00:26:37,170 All right? 585 00:26:37,170 --> 00:26:40,700 And then you get into cardioid, hypercardioid, 586 00:26:40,700 --> 00:26:46,470 and this shotgun, which is like a super hypercardioid, which essentially 587 00:26:46,470 --> 00:26:50,820 is taking that full sphere pickup pattern 588 00:26:50,820 --> 00:26:54,750 and making it more and more directional so 589 00:26:54,750 --> 00:27:00,770 that it's less sensitive to audio that comes from the side of it or behind it. 590 00:27:00,770 --> 00:27:05,010 So you can see there's a little bit of pickup here on the hypercardioids 591 00:27:05,010 --> 00:27:08,340 right behind it and much more sensitive to audio that 592 00:27:08,340 --> 00:27:10,440 comes from directly in front of it. 593 00:27:10,440 --> 00:27:11,370 OK? 594 00:27:11,370 --> 00:27:16,770 So that shotgun microphone was a hypercardioid mic on a boom pole 595 00:27:16,770 --> 00:27:20,350 that was very sensitive to the subject in front of it. 596 00:27:20,350 --> 00:27:22,350 And I think someone noticed right away that they 597 00:27:22,350 --> 00:27:26,640 were able to hear the sound of the book turning more with that mic than 598 00:27:26,640 --> 00:27:28,590 with the other mics. 599 00:27:28,590 --> 00:27:32,970 And that's because that microphone was probably pointed a little bit down 600 00:27:32,970 --> 00:27:37,110 onto Dan's chest and actually maybe was angled a little bit low in that moment 601 00:27:37,110 --> 00:27:39,810 and was pointed directly at the book. 602 00:27:39,810 --> 00:27:42,510 And so it was much more sensitive to the thing that 603 00:27:42,510 --> 00:27:45,930 was happening down here on Dan than it is 604 00:27:45,930 --> 00:27:51,330 to the AC vents that are up above or the sound of a camera 605 00:27:51,330 --> 00:27:55,980 right behind it or something happening a little bit to the side. 606 00:27:55,980 --> 00:27:57,000 OK. 607 00:27:57,000 --> 00:28:00,210 So these pickup patterns are sort of drawn in this way. 608 00:28:00,210 --> 00:28:02,070 This is an omnidirectional pickup pattern. 609 00:28:02,070 --> 00:28:08,490 It just suggests that everywhere around the microphone is sort of sensitive. 610 00:28:08,490 --> 00:28:13,290 And then you get into this heart shape, which 611 00:28:13,290 --> 00:28:16,890 is where they get their name of cardioid, which 612 00:28:16,890 --> 00:28:19,590 is suggesting that there is a directionality to the microphone, 613 00:28:19,590 --> 00:28:22,140 that it is more directional. 614 00:28:22,140 --> 00:28:23,960 OK? 615 00:28:23,960 --> 00:28:24,960 This is a hypercardioid. 616 00:28:24,960 --> 00:28:31,050 And you'll notice that by increasing the directionality, 617 00:28:31,050 --> 00:28:36,390 it actually introduces some sensitivity almost directly behind the microphone. 618 00:28:36,390 --> 00:28:39,150 So if this is our microphone, it's very sensitive over here, 619 00:28:39,150 --> 00:28:42,420 but now it's introduced a little bit of sensitivity right behind it. 620 00:28:42,420 --> 00:28:43,260 OK? 621 00:28:43,260 --> 00:28:45,840 So you do need to be aware of that because if the back of your microphone 622 00:28:45,840 --> 00:28:48,150 is pointed at a large AC duct or something like that, 623 00:28:48,150 --> 00:28:50,580 you may introduce a little bit of noise through that. 624 00:28:50,580 --> 00:28:55,470 And just getting a little bit off axis from that might be your best choice. 625 00:28:55,470 --> 00:28:57,720 OK. 626 00:28:57,720 --> 00:29:01,170 So microphone proximity essentially is the key 627 00:29:01,170 --> 00:29:03,577 to reproducing good sound, all right? 628 00:29:03,577 --> 00:29:06,160 They pick up audio better when they're proximal to the source. 629 00:29:06,160 --> 00:29:08,850 So directional microphones should have the source 630 00:29:08,850 --> 00:29:11,780 placed in their pickup pattern. 631 00:29:11,780 --> 00:29:12,720 All right? 632 00:29:12,720 --> 00:29:16,140 And so I do want to say that a handheld microphone can 633 00:29:16,140 --> 00:29:18,720 have an omnidirectional pickup pattern, or it 634 00:29:18,720 --> 00:29:20,970 could have a cardioid pickup pattern. 635 00:29:20,970 --> 00:29:23,550 The lav that I'm wearing is omnidirectional today, right? 636 00:29:23,550 --> 00:29:24,060 Yeah. 637 00:29:24,060 --> 00:29:27,870 But also, in some ways, it could have a cardioid pickup pattern. 638 00:29:27,870 --> 00:29:29,970 DAN COFFEY: And if you look closely, Ian's lav 639 00:29:29,970 --> 00:29:32,460 is oriented the opposite direction of my lav. 640 00:29:32,460 --> 00:29:34,800 But there's no difference on the actual-- 641 00:29:34,800 --> 00:29:38,800 if you're listening to this recording, there's no difference in sound quality. 642 00:29:38,800 --> 00:29:41,490 IAN SEXTON: And the orientation is sort of the capsule is-- 643 00:29:41,490 --> 00:29:43,770 this top part, mine's pointed straight down. 644 00:29:43,770 --> 00:29:45,300 But it doesn't matter because it's omnidirectional. 645 00:29:45,300 --> 00:29:45,960 DAN COFFEY: Oh, sorry. 646 00:29:45,960 --> 00:29:47,020 I thought it was pointing up. 647 00:29:47,020 --> 00:29:48,192 Mine is pointing down too. 648 00:29:48,192 --> 00:29:48,530 [LAUGHS] 649 00:29:48,530 --> 00:29:48,900 IAN SEXTON: Right? 650 00:29:48,900 --> 00:29:49,858 But it wouldn't matter. 651 00:29:49,858 --> 00:29:54,270 If it was pointed up, it would have this sort of same pickup 652 00:29:54,270 --> 00:29:57,310 as it does inverted. 653 00:29:57,310 --> 00:29:58,470 OK? 654 00:29:58,470 --> 00:30:00,785 So to listen to Dan read this one more time. 655 00:30:00,785 --> 00:30:02,340 DAN COFFEY: The last time. 656 00:30:02,340 --> 00:30:05,810 IAN SEXTON: No, I think there's more. 657 00:30:05,810 --> 00:30:09,570 What we're going to see here is this is the shotgun microphone. 658 00:30:09,570 --> 00:30:12,480 And we're going to listen to the directionality of it. 659 00:30:12,480 --> 00:30:19,020 And you'll be able to see it move from a top view and from a front view. 660 00:30:19,020 --> 00:30:20,100 DAN COFFEY: "Hello. 661 00:30:20,100 --> 00:30:23,520 My name is Marlon Bundo, and I am a bunny. 662 00:30:23,520 --> 00:30:27,900 I live with my mom, grandma, and grandpa in an old stuffy house in the grounds 663 00:30:27,900 --> 00:30:30,000 of the US Naval Observatory. 664 00:30:30,000 --> 00:30:32,460 That's because my grandpa is the vice president. 665 00:30:32,460 --> 00:30:34,500 His name is Mike Pence. 666 00:30:34,500 --> 00:30:38,580 But this story isn't going to be about him because he isn't very fun. 667 00:30:38,580 --> 00:30:42,300 This story is about me because I'm very fun. 668 00:30:42,300 --> 00:30:46,920 This is the story of my very special day. 669 00:30:46,920 --> 00:30:50,130 My very special day started out like every other day. 670 00:30:50,130 --> 00:30:51,750 I woke up--" 671 00:30:51,750 --> 00:30:53,790 IAN SEXTON: So what did you hear there? 672 00:30:53,790 --> 00:31:01,400 673 00:31:01,400 --> 00:31:04,442 AUDIENCE: The sound sounded a little bit more direct over the microphone, 674 00:31:04,442 --> 00:31:06,310 [INAUDIBLE]. 675 00:31:06,310 --> 00:31:07,460 IAN SEXTON: Yeah. 676 00:31:07,460 --> 00:31:11,000 So there was a couple of moments where the microphone panned 677 00:31:11,000 --> 00:31:11,783 off access, right? 678 00:31:11,783 --> 00:31:14,450 So the access to the microphone sort of threw it to the subject, 679 00:31:14,450 --> 00:31:20,240 and it panned off axis, and the sort of audio levels dropped, right? 680 00:31:20,240 --> 00:31:24,380 Dan got quieter, the sort of sound of his voice changed a little bit. 681 00:31:24,380 --> 00:31:28,580 Maybe we're getting less frequency response from the microphone. 682 00:31:28,580 --> 00:31:32,120 We're picking up certain frequencies better than others, OK? 683 00:31:32,120 --> 00:31:35,260 So directionality is really, really important. 684 00:31:35,260 --> 00:31:35,900 All right? 685 00:31:35,900 --> 00:31:37,130 If you have a hand-held microphone-- 686 00:31:37,130 --> 00:31:39,080 I'm sure maybe we've all gone to a talk where someone 687 00:31:39,080 --> 00:31:40,670 has a hand-held microphone, and they're sort 688 00:31:40,670 --> 00:31:42,560 of gesturing wildly with it while they're talking, 689 00:31:42,560 --> 00:31:44,330 and you can't hear what they're saying. 690 00:31:44,330 --> 00:31:46,820 But then if you bring it right here, all of a sudden, 691 00:31:46,820 --> 00:31:48,920 they're sort of loud in the room again. 692 00:31:48,920 --> 00:31:49,420 OK? 693 00:31:49,420 --> 00:31:51,990 So proximity is really important. 694 00:31:51,990 --> 00:31:54,860 And it's not just proximity, but also understanding the pickup 695 00:31:54,860 --> 00:31:57,260 pattern or the polar pattern of the microphone 696 00:31:57,260 --> 00:31:59,330 and using that to your advantage. 697 00:31:59,330 --> 00:32:01,880 Because the boom when it turned off axis wasn't really 698 00:32:01,880 --> 00:32:05,090 that much further away from Dan, right? 699 00:32:05,090 --> 00:32:07,770 It just was pointed the wrong way. 700 00:32:07,770 --> 00:32:08,270 OK? 701 00:32:08,270 --> 00:32:13,380 So it's not just proximity, but also the type of pickup pattern. 702 00:32:13,380 --> 00:32:13,880 All right? 703 00:32:13,880 --> 00:32:16,670 704 00:32:16,670 --> 00:32:20,420 Are there any questions from our online audience or in class audience 705 00:32:20,420 --> 00:32:24,306 on pickup patterns and/or microphones more generally? 706 00:32:24,306 --> 00:32:29,070 707 00:32:29,070 --> 00:32:31,180 All right. 708 00:32:31,180 --> 00:32:31,960 OK. 709 00:32:31,960 --> 00:32:36,430 So now that we sort of have a handle on the type of microphones that exist, 710 00:32:36,430 --> 00:32:42,130 let's talk about how we're going to manage our workflow of recording audio. 711 00:32:42,130 --> 00:32:44,980 So there's this idea of gain stages, which 712 00:32:44,980 --> 00:32:50,110 is that signal flows from a source and is modified at various stages 713 00:32:50,110 --> 00:32:52,000 and reaches its destination. 714 00:32:52,000 --> 00:32:55,990 And so in this sort of rudimentary diagram are our sources. 715 00:32:55,990 --> 00:33:00,250 A microphone where the sound is picked up by some pick up pattern. 716 00:33:00,250 --> 00:33:02,590 And it travels through the microphone to a preamp, which 717 00:33:02,590 --> 00:33:07,030 is in a mixer or a recorder, which then records some sound, 718 00:33:07,030 --> 00:33:08,860 and then it goes maybe into post-production 719 00:33:08,860 --> 00:33:11,200 and is layered in some editing and then is eventually 720 00:33:11,200 --> 00:33:13,950 played back in a room or something. 721 00:33:13,950 --> 00:33:15,070 OK? 722 00:33:15,070 --> 00:33:20,330 And the important thing to know is that if at any of these stages, 723 00:33:20,330 --> 00:33:23,080 you do something really destructive to your audio, 724 00:33:23,080 --> 00:33:30,160 it flows down the signal flow and cascades into the next stages, OK? 725 00:33:30,160 --> 00:33:34,270 So if you record poor sound at your microphone, 726 00:33:34,270 --> 00:33:38,950 that's going to continue all the way down to playback. 727 00:33:38,950 --> 00:33:42,227 If you record excellent sound here, and your preamp is really awful, 728 00:33:42,227 --> 00:33:44,560 like you have a really expensive microphone and a really 729 00:33:44,560 --> 00:33:48,640 sort of cheap recorder, and it's doing damage to your sort of audio sound, 730 00:33:48,640 --> 00:33:51,220 all of that money that you spent here on getting 731 00:33:51,220 --> 00:33:56,290 a really nice microphone with great frequency response 732 00:33:56,290 --> 00:33:59,020 and sounds awesome sort of maybe gets degraded here, 733 00:33:59,020 --> 00:34:01,480 and that continues all the way through. 734 00:34:01,480 --> 00:34:02,350 OK? 735 00:34:02,350 --> 00:34:05,560 If when you're recording, your gain is up way too much and something is 736 00:34:05,560 --> 00:34:11,380 clipping or over modulating, you cannot bring that back later, OK? 737 00:34:11,380 --> 00:34:13,810 So garbage in, garbage out, right? 738 00:34:13,810 --> 00:34:17,960 But great stuff in, you can get great stuff out at the end. 739 00:34:17,960 --> 00:34:18,460 All right? 740 00:34:18,460 --> 00:34:21,940 So do realize that you need to be conscious of the signal flow 741 00:34:21,940 --> 00:34:24,639 as you begin to string these things together 742 00:34:24,639 --> 00:34:26,650 and you're thinking about your playback. 743 00:34:26,650 --> 00:34:27,400 And even playback. 744 00:34:27,400 --> 00:34:30,460 If you-- I mean, someone here must have blown out speakers at some point 745 00:34:30,460 --> 00:34:33,130 by turning something up way too loud. 746 00:34:33,130 --> 00:34:33,940 OK. 747 00:34:33,940 --> 00:34:35,350 I've done it. 748 00:34:35,350 --> 00:34:37,886 But that's essentially-- I probably had a decently 749 00:34:37,886 --> 00:34:39,969 resolved signal all the way through to that point, 750 00:34:39,969 --> 00:34:43,270 and then I over modulated my playback system 751 00:34:43,270 --> 00:34:44,920 and ended up destroying some speakers. 752 00:34:44,920 --> 00:34:47,515 753 00:34:47,515 --> 00:34:48,015 Maybe. 754 00:34:48,015 --> 00:34:49,699 Maybe that. 755 00:34:49,699 --> 00:34:50,199 OK. 756 00:34:50,199 --> 00:34:55,929 So when we think about this, there are a couple different types of audio signal, 757 00:34:55,929 --> 00:34:56,920 all right? 758 00:34:56,920 --> 00:35:02,892 So there's mic level and line level for predominantly, OK? 759 00:35:02,892 --> 00:35:04,600 And so the signal coming off a microphone 760 00:35:04,600 --> 00:35:07,240 is really, really low voltage. 761 00:35:07,240 --> 00:35:10,090 It's a tiny little diaphragm that's moving and making 762 00:35:10,090 --> 00:35:15,590 just a little bit of voltage irregularities in a very small circuit. 763 00:35:15,590 --> 00:35:16,090 All right? 764 00:35:16,090 --> 00:35:20,470 So that must be boosted before you can use it to power a large speaker 765 00:35:20,470 --> 00:35:24,070 or something like that, or you can hear it in your headphones. 766 00:35:24,070 --> 00:35:27,220 So that gets boosted by something called a preamp. 767 00:35:27,220 --> 00:35:29,950 And they're responsible for bringing the microphone signal up 768 00:35:29,950 --> 00:35:31,510 to line level signal. 769 00:35:31,510 --> 00:35:35,110 And line level signal is the level of voltage 770 00:35:35,110 --> 00:35:37,600 that you transmit over audio cables. 771 00:35:37,600 --> 00:35:42,280 So the audio cable coming out of my Mac computer 772 00:35:42,280 --> 00:35:47,500 is a line level signal so that you can send audio over an 8 inch cable 773 00:35:47,500 --> 00:35:50,320 into the speakers that exists in this room and into zoom 774 00:35:50,320 --> 00:35:52,380 and send it out to the internet. 775 00:35:52,380 --> 00:35:53,770 OK? 776 00:35:53,770 --> 00:35:56,950 So the quality of the preamp can have a very strong effect 777 00:35:56,950 --> 00:35:58,538 on the quality of the audio recorded. 778 00:35:58,538 --> 00:36:01,330 You have an excellent microphone, you put it into a garbage preamp, 779 00:36:01,330 --> 00:36:03,310 then maybe you have some problems. 780 00:36:03,310 --> 00:36:08,050 If you have an excellent microphone and it goes into an excellent preamp, 781 00:36:08,050 --> 00:36:11,560 you've maintained the sort of fidelity of the audio 782 00:36:11,560 --> 00:36:14,080 that you've recorded in that step. 783 00:36:14,080 --> 00:36:14,920 OK? 784 00:36:14,920 --> 00:36:16,982 And so there's-- 785 00:36:16,982 --> 00:36:19,690 I mean, if you get onto some audio boards or something like that, 786 00:36:19,690 --> 00:36:22,065 there's a huge amount of discussion about which equipment 787 00:36:22,065 --> 00:36:23,900 has best preamps and things like that. 788 00:36:23,900 --> 00:36:26,590 But I think for as a general rule of thumb, 789 00:36:26,590 --> 00:36:29,080 often you can equate this to cost, right? 790 00:36:29,080 --> 00:36:33,070 Cheaper gear has sort of weaker preamps or less sort 791 00:36:33,070 --> 00:36:34,630 of well engineered preamps. 792 00:36:34,630 --> 00:36:35,785 I don't want to say weaker. 793 00:36:35,785 --> 00:36:37,660 And more expensive gear, as you get into sort 794 00:36:37,660 --> 00:36:45,280 of the upper end of studio recording or field recording or sort of audio file 795 00:36:45,280 --> 00:36:50,950 experience is going to have more fidelity in its preamps, all right? 796 00:36:50,950 --> 00:36:52,600 Cleaner sound. 797 00:36:52,600 --> 00:36:56,410 And I think this is sort of it, that in any system, there's noise. 798 00:36:56,410 --> 00:36:58,655 And so moving through these different systems, 799 00:36:58,655 --> 00:37:01,780 if you introduce noise at any one of these points, it's then in your signal 800 00:37:01,780 --> 00:37:04,110 and you can't get it out. 801 00:37:04,110 --> 00:37:05,890 OK? 802 00:37:05,890 --> 00:37:08,740 So just to finish this, line level is a higher voltage 803 00:37:08,740 --> 00:37:11,560 and allows the signal to be transported over longer distances. 804 00:37:11,560 --> 00:37:13,480 OK? 805 00:37:13,480 --> 00:37:17,175 So here are a couple images from-- 806 00:37:17,175 --> 00:37:19,900 well, they're both from mixers, OK? 807 00:37:19,900 --> 00:37:23,740 And this is two XLR inputs. 808 00:37:23,740 --> 00:37:27,610 And there's these little switches on the bottom where you can actually switch-- 809 00:37:27,610 --> 00:37:32,180 you can pad the input to be either a mic input or a line input. 810 00:37:32,180 --> 00:37:34,870 So you can tell this mixer what you're feeding it, 811 00:37:34,870 --> 00:37:37,570 and it will sort of respond appropriately. 812 00:37:37,570 --> 00:37:40,180 There's also this little symbol here, which 813 00:37:40,180 --> 00:37:43,640 is 48 volts, which is called phantom power. 814 00:37:43,640 --> 00:37:44,140 OK? 815 00:37:44,140 --> 00:37:46,540 I said earlier that condenser microphones need power 816 00:37:46,540 --> 00:37:48,650 in order to function. 817 00:37:48,650 --> 00:37:52,660 A lot of mixers or recorders will allow you to send power 818 00:37:52,660 --> 00:37:57,900 over the cable that connects them rather than using a battery in the microphone. 819 00:37:57,900 --> 00:37:58,690 OK? 820 00:37:58,690 --> 00:38:01,630 So by flicking that switch or pressing this button up here, 821 00:38:01,630 --> 00:38:03,760 you'll enable phantom power on your inputs, which 822 00:38:03,760 --> 00:38:07,480 means that you can then power the microphone 823 00:38:07,480 --> 00:38:10,000 using just the mixer or recorder you have. 824 00:38:10,000 --> 00:38:12,835 Which is sort of nice because it's less things to keep track of. 825 00:38:12,835 --> 00:38:15,710 Your batteries and your mixer, or maybe that's plugged into the wall, 826 00:38:15,710 --> 00:38:17,835 you don't have to worry about a battery running out 827 00:38:17,835 --> 00:38:21,520 mid-recording or mid-session or something like that. 828 00:38:21,520 --> 00:38:24,280 All right? 829 00:38:24,280 --> 00:38:25,330 OK. 830 00:38:25,330 --> 00:38:27,450 So digital audio. 831 00:38:27,450 --> 00:38:29,530 That's a little bit about the signal flow, 832 00:38:29,530 --> 00:38:34,310 but let's take a look at what makes up digital audio. 833 00:38:34,310 --> 00:38:34,930 All right? 834 00:38:34,930 --> 00:38:38,590 So the first thing to consider is that digital audio 835 00:38:38,590 --> 00:38:43,710 is a set of discrete samples of an analog signal. 836 00:38:43,710 --> 00:38:48,220 The sound coming out of my voice is a continuous tone, right? 837 00:38:48,220 --> 00:38:51,040 But there's only a finite number of bits and sort 838 00:38:51,040 --> 00:38:55,290 of a finite number of hard drive space or something like that 839 00:38:55,290 --> 00:38:59,470 or resources in a computer, so it's going to sample. 840 00:38:59,470 --> 00:39:04,750 But it's going to sample at an incredibly fast or high amount, 841 00:39:04,750 --> 00:39:07,130 many thousands of times per second. 842 00:39:07,130 --> 00:39:10,330 And so each of these discrete samples makes up a sample rate, OK? 843 00:39:10,330 --> 00:39:15,100 And low sample rates have decreased fidelity to the audio source, 844 00:39:15,100 --> 00:39:17,800 while increased sample rates have higher fidelity. 845 00:39:17,800 --> 00:39:18,853 OK? 846 00:39:18,853 --> 00:39:20,770 And you can just put this in your back pocket. 847 00:39:20,770 --> 00:39:22,478 It's the same way we talk about sort of-- 848 00:39:22,478 --> 00:39:25,373 849 00:39:25,373 --> 00:39:27,290 well, I don't want to say that it's like ISOs. 850 00:39:27,290 --> 00:39:30,307 That's sort of not quite the right analogy. 851 00:39:30,307 --> 00:39:32,890 So increasing your sample rates will give you higher fidelity. 852 00:39:32,890 --> 00:39:34,973 And we can sort of-- or I have a couple of images. 853 00:39:34,973 --> 00:39:37,630 We'll take a look at why this might be true. 854 00:39:37,630 --> 00:39:40,120 So here is some sort of audio wave form, and it's 855 00:39:40,120 --> 00:39:45,940 being sampled at some amount per time. 856 00:39:45,940 --> 00:39:47,170 And that's pretty big. 857 00:39:47,170 --> 00:39:51,580 But we could do even better, and we could sample at a much finer amount. 858 00:39:51,580 --> 00:39:53,470 And so by sampling it at a much finer amount, 859 00:39:53,470 --> 00:39:56,450 we actually get better fidelity to this curve. 860 00:39:56,450 --> 00:39:57,062 All right? 861 00:39:57,062 --> 00:39:59,020 And I'll show you what I mean in just a second. 862 00:39:59,020 --> 00:40:01,760 863 00:40:01,760 --> 00:40:06,100 So again, the first sample rate, it's less samples per second. 864 00:40:06,100 --> 00:40:09,150 Ding, ding, ding, ding, ding, ding, ding, if this is time going this way. 865 00:40:09,150 --> 00:40:11,470 And this is more samples per second. 866 00:40:11,470 --> 00:40:12,490 OK? 867 00:40:12,490 --> 00:40:14,330 So what does this look like? 868 00:40:14,330 --> 00:40:18,460 Well, if you have a curve of audio with time going this way, 869 00:40:18,460 --> 00:40:23,260 and you're making samples like this, if you have only five samples here, 870 00:40:23,260 --> 00:40:28,570 you're really drawing a really rudimentary pyramid that only roughly 871 00:40:28,570 --> 00:40:31,070 matches the shape of this curve. 872 00:40:31,070 --> 00:40:33,340 OK? 873 00:40:33,340 --> 00:40:37,630 Whereas if we're sampling many times per second, 874 00:40:37,630 --> 00:40:45,010 we're able to get better fidelity to that curve that 875 00:40:45,010 --> 00:40:48,630 is sort of the real world. 876 00:40:48,630 --> 00:40:51,050 Does it make sense? 877 00:40:51,050 --> 00:40:52,430 OK. 878 00:40:52,430 --> 00:40:55,740 So the more samples that you have, the more closely 879 00:40:55,740 --> 00:41:03,060 you can get your audio signal to match a continuous curve 880 00:41:03,060 --> 00:41:07,550 in a digital system that does not allow you to map a continuous function. 881 00:41:07,550 --> 00:41:09,860 OK? 882 00:41:09,860 --> 00:41:14,840 So sample rate is the number of discrete samples over time. 883 00:41:14,840 --> 00:41:16,110 Right? 884 00:41:16,110 --> 00:41:17,360 There's another-- what's that? 885 00:41:17,360 --> 00:41:19,280 DAN COFFEY: And just to be clear, measuring per second. 886 00:41:19,280 --> 00:41:20,238 IAN SEXTON: Per second. 887 00:41:20,238 --> 00:41:21,470 Yeah, actually. 888 00:41:21,470 --> 00:41:23,840 Thousands of times per second. 889 00:41:23,840 --> 00:41:24,440 OK. 890 00:41:24,440 --> 00:41:25,480 Oops. 891 00:41:25,480 --> 00:41:27,560 I'm going the wrong way. 892 00:41:27,560 --> 00:41:30,860 There's one other sort of concept in digital audio 893 00:41:30,860 --> 00:41:37,130 that we need to be aware of, and that is the granularity of each sample. 894 00:41:37,130 --> 00:41:37,970 OK? 895 00:41:37,970 --> 00:41:42,980 So these are two images which have the same sample rate, OK? 896 00:41:42,980 --> 00:41:47,270 But they have-- each sample can only in this scene 897 00:41:47,270 --> 00:41:55,820 be either 0, 1, or 2 for its height, which gives you 898 00:41:55,820 --> 00:42:00,560 this sort of rough pyramid shape, which sort of matches this parabola here, 899 00:42:00,560 --> 00:42:03,350 but there's not a lot of fidelity there. 900 00:42:03,350 --> 00:42:07,490 Whereas if we increase the granularity of each discrete sample, 901 00:42:07,490 --> 00:42:10,820 we can actually for each sample rate get better fidelity 902 00:42:10,820 --> 00:42:15,080 of that curve over time. 903 00:42:15,080 --> 00:42:16,820 OK? 904 00:42:16,820 --> 00:42:19,040 So bit depth this is sort of-- you can think of it 905 00:42:19,040 --> 00:42:23,840 as the granularity of each discrete sample. 906 00:42:23,840 --> 00:42:24,520 Yes. 907 00:42:24,520 --> 00:42:27,130 AUDIENCE: I just have a question of clarity. 908 00:42:27,130 --> 00:42:32,685 The curve, basically, is that in correlation to the acoustic properties 909 00:42:32,685 --> 00:42:33,572 of a sound wave? 910 00:42:33,572 --> 00:42:34,280 IAN SEXTON: Yeah. 911 00:42:34,280 --> 00:42:35,210 Essentially, yeah. 912 00:42:35,210 --> 00:42:37,790 It's sort of a visual representation of a sound wave. 913 00:42:37,790 --> 00:42:43,790 And so what we're doing is trying to recreate this sound wave 914 00:42:43,790 --> 00:42:52,160 curve using a digital system, which only has sort of finite amount of precision, 915 00:42:52,160 --> 00:42:54,080 which is the exact right way to say it. 916 00:42:54,080 --> 00:42:58,340 And then by increasing our sample rate, we increase our precision. 917 00:42:58,340 --> 00:43:01,220 By increasing our bit depth, we increase our precision. 918 00:43:01,220 --> 00:43:05,450 So we can have a very high sample rate with a very low bit depth 919 00:43:05,450 --> 00:43:08,870 and get mediocre fidelity. 920 00:43:08,870 --> 00:43:12,380 Or we could have a very high bit depth and a low sample rate 921 00:43:12,380 --> 00:43:13,790 and get mediocre fidelity. 922 00:43:13,790 --> 00:43:16,580 Or we could have high sample rate and high bit depth 923 00:43:16,580 --> 00:43:18,800 and get really awesome fidelity. 924 00:43:18,800 --> 00:43:25,130 So some sort of common sample rates and bit depths are here. 925 00:43:25,130 --> 00:43:32,600 So see, these are at 44.1 kilohertz, which is 44,100 samples per second. 926 00:43:32,600 --> 00:43:34,160 Let that sink in for a hot second. 927 00:43:34,160 --> 00:43:37,340 That's an incredible amount, right? 928 00:43:37,340 --> 00:43:40,160 So pro video, we tend to record at 48 kilohertz, which 929 00:43:40,160 --> 00:43:43,640 is 48,000 samples per second. 930 00:43:43,640 --> 00:43:47,517 A sample in digital audio is 148 thousandth of a second. 931 00:43:47,517 --> 00:43:49,100 AUDIENCE: That's a fast shutter speed. 932 00:43:49,100 --> 00:43:50,100 IAN SEXTON: Yeah, right? 933 00:43:50,100 --> 00:43:51,170 That's exactly it. 934 00:43:51,170 --> 00:43:54,860 So when we think back to sort of sort of frames per second, 935 00:43:54,860 --> 00:43:56,800 they're 124th of a second. 936 00:43:56,800 --> 00:43:59,300 It's not even on the same chart, really. 937 00:43:59,300 --> 00:44:01,610 They're so much longer. 938 00:44:01,610 --> 00:44:02,360 OK? 939 00:44:02,360 --> 00:44:05,480 So audio is sampling incredibly rapidly. 940 00:44:05,480 --> 00:44:10,010 The nice thing is that audio tends to be much smaller in its data size 941 00:44:10,010 --> 00:44:13,970 than video so that you can get away with this high sample rate and still 942 00:44:13,970 --> 00:44:18,050 not over crank your sort of storage or anything like that. 943 00:44:18,050 --> 00:44:19,000 OK? 944 00:44:19,000 --> 00:44:24,740 And so 24-bit audio is 2 to the 24th, which is six million different values. 945 00:44:24,740 --> 00:44:26,840 Or 16-bit is 2 to the 16th, which is-- 946 00:44:26,840 --> 00:44:28,380 I actually can't do this math. 947 00:44:28,380 --> 00:44:31,820 But it's some number less, number of values. 948 00:44:31,820 --> 00:44:37,030 And so if you think about this, if we had a bit depth of two, 949 00:44:37,030 --> 00:44:39,770 and we had a sort of a gradation from black to white, 950 00:44:39,770 --> 00:44:42,980 it would be either white or it would be black. 951 00:44:42,980 --> 00:44:47,000 But if we had a bit depth of 24, then that gradation 952 00:44:47,000 --> 00:44:50,750 would have six million shades of gray in between white and black. 953 00:44:50,750 --> 00:44:51,890 AUDIENCE: [INAUDIBLE] 954 00:44:51,890 --> 00:44:52,640 IAN SEXTON: Right? 955 00:44:52,640 --> 00:44:54,950 So that's what I mean about fidelity, that there's 956 00:44:54,950 --> 00:44:58,160 more granularity in the sample, and it can be more precise 957 00:44:58,160 --> 00:45:03,760 and actually ends up being more accurate to the sound that you're recording. 958 00:45:03,760 --> 00:45:05,010 DAN COFFEY: And this is like-- 959 00:45:05,010 --> 00:45:06,970 I'm going to take us on a tangent for a second. 960 00:45:06,970 --> 00:45:07,762 IAN SEXTON: Hooray. 961 00:45:07,762 --> 00:45:11,660 DAN COFFEY: But this is kind of like why true audio files prefer 962 00:45:11,660 --> 00:45:14,272 old analog audio, and especially records, because when 963 00:45:14,272 --> 00:45:15,980 you recorded the sound-- and I'm probably 964 00:45:15,980 --> 00:45:17,397 going to mess up this explanation. 965 00:45:17,397 --> 00:45:19,970 But it was actually taking the impression from the sound wave 966 00:45:19,970 --> 00:45:22,520 and writing it directly on the wax of a disk. 967 00:45:22,520 --> 00:45:25,100 So it was a perfect copy of the sound, as much 968 00:45:25,100 --> 00:45:26,950 as the microphone itself could pick up. 969 00:45:26,950 --> 00:45:27,360 IAN SEXTON: Right. 970 00:45:27,360 --> 00:45:29,152 DAN COFFEY: There was no digital conversion 971 00:45:29,152 --> 00:45:32,060 where you are worrying about bit depth or sample rate. 972 00:45:32,060 --> 00:45:34,640 It was just a perfect impression of the sound wave. 973 00:45:34,640 --> 00:45:36,770 So as you play it back, you get the full sound. 974 00:45:36,770 --> 00:45:39,190 There's not this kind of digital approximation. 975 00:45:39,190 --> 00:45:39,410 IAN SEXTON: Right. 976 00:45:39,410 --> 00:45:42,493 And then so you have to ask yourself questions about things that you hear, 977 00:45:42,493 --> 00:45:44,610 like they were digitized at a microphone, 978 00:45:44,610 --> 00:45:48,450 then maybe they were put onto a cassette, and then re-digitized. 979 00:45:48,450 --> 00:45:53,720 You can go down the photocopy of photocopy hole very quickly. 980 00:45:53,720 --> 00:45:54,290 OK. 981 00:45:54,290 --> 00:45:57,800 So this is sort of sample rates and bit depths, 982 00:45:57,800 --> 00:46:01,610 which comprise our audio file, OK? 983 00:46:01,610 --> 00:46:05,270 And so there's some common file formats. 984 00:46:05,270 --> 00:46:08,060 We have this little grid here for you, which has got 985 00:46:08,060 --> 00:46:12,760 WAV's, AIFF's, MP3's, AC's, and WMA's. 986 00:46:12,760 --> 00:46:16,810 And so all of these have a little bit of compression on them or not. 987 00:46:16,810 --> 00:46:17,440 OK? 988 00:46:17,440 --> 00:46:21,880 So the waves and the AIFF's have zero compression. 989 00:46:21,880 --> 00:46:24,400 So they're a lossless audio format. 990 00:46:24,400 --> 00:46:27,430 What you put into that file will be what you 991 00:46:27,430 --> 00:46:30,250 get out of it when you make that file. 992 00:46:30,250 --> 00:46:35,110 MP3's on the other hand, which have maybe fallen out of favor, 993 00:46:35,110 --> 00:46:37,570 have high compression. 994 00:46:37,570 --> 00:46:40,420 And they actually throw away audio data so that you're 995 00:46:40,420 --> 00:46:41,980 degrading the signal in some way. 996 00:46:41,980 --> 00:46:42,938 AUDIENCE: Like a JPEG? 997 00:46:42,938 --> 00:46:44,230 IAN SEXTON: Like a JPEG, right? 998 00:46:44,230 --> 00:46:45,938 If you think about it that way, for sure. 999 00:46:45,938 --> 00:46:46,893 AUDIENCE: Oh, wow. 1000 00:46:46,893 --> 00:46:47,560 IAN SEXTON: Yep. 1001 00:46:47,560 --> 00:46:49,600 And the same with the AC's and the WMA's. 1002 00:46:49,600 --> 00:46:53,320 So when you're recording audio, and you have a recorder, 1003 00:46:53,320 --> 00:46:56,100 and you have a choice of what file type to choose, 1004 00:46:56,100 --> 00:46:59,225 you're going to want to go with a lossless compression file type. 1005 00:46:59,225 --> 00:47:00,560 AUDIENCE: [INAUDIBLE] 1006 00:47:00,560 --> 00:47:02,620 IAN SEXTON: Well, you increase your size, right? 1007 00:47:02,620 --> 00:47:05,080 If you're going to record four days of audio, then maybe 1008 00:47:05,080 --> 00:47:07,030 you actually need a little bit of compression. 1009 00:47:07,030 --> 00:47:12,880 Or if you want 10 million songs, maybe you're going to store MP3's, right? 1010 00:47:12,880 --> 00:47:15,308 DAN COFFEY: And as space gets cheaper and we 1011 00:47:15,308 --> 00:47:17,350 kind of progress in this digital age-- like video 1012 00:47:17,350 --> 00:47:20,140 is a thing that takes up so much more space than audio. 1013 00:47:20,140 --> 00:47:23,348 So audio is almost trivial at this point because its space is so cheap. 1014 00:47:23,348 --> 00:47:24,390 IAN SEXTON: It really is. 1015 00:47:24,390 --> 00:47:28,280 And I think if you are doing sort of audio and video work, 1016 00:47:28,280 --> 00:47:33,070 your video storage is going to eclipse your audio storage 1017 00:47:33,070 --> 00:47:35,178 in a heartbeat in your first shoot. 1018 00:47:35,178 --> 00:47:36,470 AUDIENCE: The first video clip. 1019 00:47:36,470 --> 00:47:37,300 IAN SEXTON: Yeah. 1020 00:47:37,300 --> 00:47:39,220 I think all the audio on my drive at home 1021 00:47:39,220 --> 00:47:42,640 that I edit off is smaller than probably one of my first video project 1022 00:47:42,640 --> 00:47:45,460 that's on there. 1023 00:47:45,460 --> 00:47:46,710 OK. 1024 00:47:46,710 --> 00:47:49,990 So we're going to get into a little bit of how 1025 00:47:49,990 --> 00:47:53,080 we understand the recording of audio. 1026 00:47:53,080 --> 00:47:56,770 So these are VU meters or volume unit meters, OK? 1027 00:47:56,770 --> 00:48:03,040 And what they do is measure the signal that's being recorded at a source. 1028 00:48:03,040 --> 00:48:03,970 OK? 1029 00:48:03,970 --> 00:48:05,360 So there's two types. 1030 00:48:05,360 --> 00:48:07,240 There's analog and digital. 1031 00:48:07,240 --> 00:48:09,190 Analog tends to go up to-- 1032 00:48:09,190 --> 00:48:11,930 or to be mixed at 0. 1033 00:48:11,930 --> 00:48:14,678 You see that these are green up to about 3. 1034 00:48:14,678 --> 00:48:16,720 And then they start to get yellow, and then what? 1035 00:48:16,720 --> 00:48:19,360 Now you're way over modulating, OK? 1036 00:48:19,360 --> 00:48:23,020 With digital, you see that we get minus 3, and then we're at 0, 1037 00:48:23,020 --> 00:48:24,950 and you're over modulating. 1038 00:48:24,950 --> 00:48:25,450 OK? 1039 00:48:25,450 --> 00:48:29,620 So there is actually a different standard for recording analog audio 1040 00:48:29,620 --> 00:48:32,150 and recording digital audio. 1041 00:48:32,150 --> 00:48:32,650 All right? 1042 00:48:32,650 --> 00:48:35,233 So we're going to focus on digital because I think pretty much 1043 00:48:35,233 --> 00:48:38,740 now if you're diving into recording with analog recorders, 1044 00:48:38,740 --> 00:48:40,930 then you sort of have a sophistication that-- 1045 00:48:40,930 --> 00:48:42,610 or have done a little bit more research. 1046 00:48:42,610 --> 00:48:43,240 Yeah, Conner. 1047 00:48:43,240 --> 00:48:44,740 AUDIENCE: What is over modulating? 1048 00:48:44,740 --> 00:48:49,060 IAN SEXTON: So over modulating is within digital audio 1049 00:48:49,060 --> 00:48:51,520 that you've reached the max of your dynamic range 1050 00:48:51,520 --> 00:48:54,040 and no more data can be captured. 1051 00:48:54,040 --> 00:49:01,570 It's essentially clipping in sort of photography parlance, OK? 1052 00:49:01,570 --> 00:49:05,210 And I'll show you-- we'll talk a little bit more about that in a second. 1053 00:49:05,210 --> 00:49:05,710 OK. 1054 00:49:05,710 --> 00:49:09,490 So like I said, you can record analog to 0, but digital to minus 12 DB. 1055 00:49:09,490 --> 00:49:11,900 And what this does, if we go back to this image, 1056 00:49:11,900 --> 00:49:15,040 is if you record to minus 12 DB, there's some headroom 1057 00:49:15,040 --> 00:49:19,330 up here for you to boost or play with the signal later. 1058 00:49:19,330 --> 00:49:23,570 Or if there's a loud sound, it won't automatically strike 0 and clip. 1059 00:49:23,570 --> 00:49:24,070 OK? 1060 00:49:24,070 --> 00:49:28,090 1061 00:49:28,090 --> 00:49:29,140 All right. 1062 00:49:29,140 --> 00:49:29,640 OK. 1063 00:49:29,640 --> 00:49:32,230 So let's look at some levels bouncing, all right? 1064 00:49:32,230 --> 00:49:36,510 So these levels are on a digital scale, and they're pretty good. 1065 00:49:36,510 --> 00:49:39,610 They're bouncing up around minus 12, minus 18. 1066 00:49:39,610 --> 00:49:42,890 But now these are bouncing really low. 1067 00:49:42,890 --> 00:49:46,060 And so we haven't talked about recording low levels. 1068 00:49:46,060 --> 00:49:50,140 And we go up to super high, and you can see it starts to clip. 1069 00:49:50,140 --> 00:49:51,040 OK? 1070 00:49:51,040 --> 00:49:54,250 So your good levels are sort of bouncing in this wonderful green area. 1071 00:49:54,250 --> 00:49:56,590 If it gets too low, there's actually a problem 1072 00:49:56,590 --> 00:49:59,930 which I'll show you in just a second where you have to then boost it later 1073 00:49:59,930 --> 00:50:02,650 and you introduce a lot of noise to your recording. 1074 00:50:02,650 --> 00:50:05,590 Whereas if you record too high, you're losing data, 1075 00:50:05,590 --> 00:50:08,710 you over modulate, and you get distortion, which then you 1076 00:50:08,710 --> 00:50:11,060 can't get out of the recording. 1077 00:50:11,060 --> 00:50:11,560 OK? 1078 00:50:11,560 --> 00:50:14,330 So the two extremes of levels are sort of 1079 00:50:14,330 --> 00:50:16,330 there's different problems associated with them, 1080 00:50:16,330 --> 00:50:20,860 but they will be trouble for you if you're trying to record that way. 1081 00:50:20,860 --> 00:50:21,370 OK. 1082 00:50:21,370 --> 00:50:22,620 So here we go. 1083 00:50:22,620 --> 00:50:23,440 Dan again. 1084 00:50:23,440 --> 00:50:24,135 DAN COFFEY: Yes! 1085 00:50:24,135 --> 00:50:24,760 IAN SEXTON: OK. 1086 00:50:24,760 --> 00:50:29,780 So this is going to be sort of normal levels recorded with the lavalier mic 1087 00:50:29,780 --> 00:50:30,640 that Dan is wearing. 1088 00:50:30,640 --> 00:50:31,780 And if we listen to this-- 1089 00:50:31,780 --> 00:50:32,860 DAN COFFEY: "Hello. 1090 00:50:32,860 --> 00:50:35,320 My name is Marlon Bundo, and I am a bunny." 1091 00:50:35,320 --> 00:50:37,330 IAN SEXTON: Sounds equivalent to what we were 1092 00:50:37,330 --> 00:50:39,460 listening to before in that first [INAUDIBLE] 1093 00:50:39,460 --> 00:50:40,627 through all the microphones. 1094 00:50:40,627 --> 00:50:42,430 DAN COFFEY: "--the US Naval Observatory. 1095 00:50:42,430 --> 00:50:44,980 That's because my grandpa is the vice president. 1096 00:50:44,980 --> 00:50:47,110 His name is Mike Pence. 1097 00:50:47,110 --> 00:50:49,490 But this story isn't going to be about him." 1098 00:50:49,490 --> 00:50:52,600 IAN SEXTON: So the levels were sort of bouncing around minus 18, 1099 00:50:52,600 --> 00:50:53,482 minus 12, which is-- 1100 00:50:53,482 --> 00:50:54,190 DAN COFFEY: Yeah. 1101 00:50:54,190 --> 00:50:56,310 Negative 20 to negative 12 was the target range. 1102 00:50:56,310 --> 00:50:59,460 IAN SEXTON: Yeah, it's your target range because that gives you 1103 00:50:59,460 --> 00:51:04,300 a robust recording with some headroom to move it up or move it down 1104 00:51:04,300 --> 00:51:06,700 or to control maybe a loud sound. 1105 00:51:06,700 --> 00:51:09,940 Maybe part of this is Dan's talking, and then someone bangs a pot near him. 1106 00:51:09,940 --> 00:51:10,430 DAN COFFEY: Yeah. 1107 00:51:10,430 --> 00:51:11,660 I go from talking to yelling. 1108 00:51:11,660 --> 00:51:11,960 IAN SEXTON: Right. 1109 00:51:11,960 --> 00:51:12,680 Exactly. 1110 00:51:12,680 --> 00:51:16,132 So now let's listen to this if we record it low, 1111 00:51:16,132 --> 00:51:17,840 and you sort of hear what it sounds like. 1112 00:51:17,840 --> 00:51:18,890 DAN COFFEY: "Hello. 1113 00:51:18,890 --> 00:51:22,070 My name is Marlon Bundo, and I am a bunny. 1114 00:51:22,070 --> 00:51:26,090 I live with my mom, grandma, and grandpa in an old stuffy house on the grounds 1115 00:51:26,090 --> 00:51:27,995 of the US Naval Observatory. 1116 00:51:27,995 --> 00:51:29,120 That's because my grandpa-- 1117 00:51:29,120 --> 00:51:31,880 IAN SEXTON: So the response and the timber of his voice 1118 00:51:31,880 --> 00:51:33,300 hasn't changed a lot. 1119 00:51:33,300 --> 00:51:36,240 It's just really quiet. 1120 00:51:36,240 --> 00:51:36,740 Right? 1121 00:51:36,740 --> 00:51:38,230 AUDIENCE: There's no room noise. 1122 00:51:38,230 --> 00:51:40,743 IAN SEXTON: There's no room notice at all 1123 00:51:40,743 --> 00:51:43,160 because we've depressed the sensitivity of the microphone, 1124 00:51:43,160 --> 00:51:46,810 that it's not picking up that sort of really quiet ambient noise. 1125 00:51:46,810 --> 00:51:48,920 OK? 1126 00:51:48,920 --> 00:51:50,030 OK. 1127 00:51:50,030 --> 00:51:52,810 For those of you online, this will be loud probably. 1128 00:51:52,810 --> 00:51:53,900 So just-- 1129 00:51:53,900 --> 00:51:54,750 AUDIENCE: Take your headphones out. 1130 00:51:54,750 --> 00:51:55,458 IAN SEXTON: Yeah. 1131 00:51:55,458 --> 00:51:58,820 Take your headphones out or reduce your volume a little bit. 1132 00:51:58,820 --> 00:52:00,020 DAN COFFEY: "Hello. 1133 00:52:00,020 --> 00:52:03,170 My name is Marlon Bundo, and I am a bunny. 1134 00:52:03,170 --> 00:52:07,130 I live with my mom, grandma, and grandpa in an old stuffy house on the grounds 1135 00:52:07,130 --> 00:52:09,200 of the US Naval Observatory. 1136 00:52:09,200 --> 00:52:11,600 That's because my grandpa is the vice president. 1137 00:52:11,600 --> 00:52:14,240 His name is Mike Pence." 1138 00:52:14,240 --> 00:52:20,450 IAN SEXTON: So not only did introduce a ton of ambient room noise 1139 00:52:20,450 --> 00:52:25,040 that we did not hear on the lavalier before in any of the recordings, 1140 00:52:25,040 --> 00:52:30,800 but there's also this gnarly sound to Dan's voice, right? 1141 00:52:30,800 --> 00:52:34,820 This sort of-- it's specifically what Connor was asking about, 1142 00:52:34,820 --> 00:52:39,470 which is this over modulation, and it's begun to clip and distort. 1143 00:52:39,470 --> 00:52:40,265 OK? 1144 00:52:40,265 --> 00:52:42,140 The sensitivity of the microphone was so high 1145 00:52:42,140 --> 00:52:48,050 that it was unable to capture the audio in a controlled manner. 1146 00:52:48,050 --> 00:52:52,267 Things start to clip, the timber breaks down, and everything gets totally off-- 1147 00:52:52,267 --> 00:52:53,600 DAN COFFEY: Information is lost. 1148 00:52:53,600 --> 00:52:55,370 IAN SEXTON: Information is lost, right? 1149 00:52:55,370 --> 00:52:59,450 It actually ends up corrupting other parts of the audio. 1150 00:52:59,450 --> 00:53:04,760 And so you can't take that out of an audio signal. 1151 00:53:04,760 --> 00:53:07,850 Because you never captured the audio to begin with, 1152 00:53:07,850 --> 00:53:13,250 you can't pull over modulation out of a recording. 1153 00:53:13,250 --> 00:53:14,540 Does that make sense? 1154 00:53:14,540 --> 00:53:17,010 Because you basically did not capture that information, 1155 00:53:17,010 --> 00:53:20,270 there's no way to reproduce it later. 1156 00:53:20,270 --> 00:53:23,113 So a big thanks to Andrew Markham for all his help today. 1157 00:53:23,113 --> 00:53:24,280 But he made us this graphic. 1158 00:53:24,280 --> 00:53:27,470 We're going to talk a little bit about signal to noise ratio. 1159 00:53:27,470 --> 00:53:30,290 And so I said earlier that in any system-- 1160 00:53:30,290 --> 00:53:36,650 electrical system or otherwise-- that there's some base level of noise, OK? 1161 00:53:36,650 --> 00:53:39,020 And we have seen this come into play when 1162 00:53:39,020 --> 00:53:42,560 we've looked at ISO and photography that there 1163 00:53:42,560 --> 00:53:45,350 is some noise in electrical system. 1164 00:53:45,350 --> 00:53:47,540 And as you boost the values of the system, 1165 00:53:47,540 --> 00:53:51,720 that noise becomes more prevalent, and you can see it as noise or grain 1166 00:53:51,720 --> 00:53:53,780 in your photographic image. 1167 00:53:53,780 --> 00:53:54,860 OK? 1168 00:53:54,860 --> 00:53:57,500 So what this diagram is that there is some frequency that's 1169 00:53:57,500 --> 00:53:58,760 playing along the bottom. 1170 00:53:58,760 --> 00:54:02,750 This is sort of your dynamic range of levels, and this red area at the bottom 1171 00:54:02,750 --> 00:54:06,200 is the noise that's in the system. 1172 00:54:06,200 --> 00:54:09,710 And you may have heard this if you've ever had a speaker that's turned way up 1173 00:54:09,710 --> 00:54:12,080 but there's no actual audio playing through it. 1174 00:54:12,080 --> 00:54:14,960 You hear sort of a hiss, right? 1175 00:54:14,960 --> 00:54:19,277 And that is the sort of base level noise that's in that system 1176 00:54:19,277 --> 00:54:21,860 that you're actually just sort of listening to at that moment. 1177 00:54:21,860 --> 00:54:22,790 OK. 1178 00:54:22,790 --> 00:54:25,460 So what we have are some levels, and they were recorded. 1179 00:54:25,460 --> 00:54:29,870 If this is minus 90 and this is 0, this feels a little bit low, right? 1180 00:54:29,870 --> 00:54:35,693 This is probably down at that minus 60 or something like that, 1181 00:54:35,693 --> 00:54:38,360 which we were saying earlier is not sort of an appropriate level 1182 00:54:38,360 --> 00:54:41,090 to record at because it introduces a problem. 1183 00:54:41,090 --> 00:54:42,320 OK? 1184 00:54:42,320 --> 00:54:47,270 And so that problem is that later, after you've recorded this really, really 1185 00:54:47,270 --> 00:54:53,510 quiet audio, when you want to boost it up to a level suitable for playback 1186 00:54:53,510 --> 00:54:57,740 in some situation, you boost it. 1187 00:54:57,740 --> 00:55:01,430 But in doing so, you bring sort of the levels up into the range 1188 00:55:01,430 --> 00:55:05,632 that we say is acceptable, but you bring this noise floor up with it. 1189 00:55:05,632 --> 00:55:06,800 AUDIENCE: Oh my gosh. 1190 00:55:06,800 --> 00:55:07,550 IAN SEXTON: Right? 1191 00:55:07,550 --> 00:55:11,120 Because all you're doing is taking that whole signal and boosting it, 1192 00:55:11,120 --> 00:55:16,730 which means the noise floor comes up with the audio that you care about. 1193 00:55:16,730 --> 00:55:22,880 Which is why that we could hear in that over modulated clip, 1194 00:55:22,880 --> 00:55:27,110 we could hear the room noise and the noise of the sort of recording system 1195 00:55:27,110 --> 00:55:32,300 much more prevalently than in any of the other situations 1196 00:55:32,300 --> 00:55:35,810 because we had brought the noise floor up with it. 1197 00:55:35,810 --> 00:55:38,930 So this is the danger of recording levels that are too low. 1198 00:55:38,930 --> 00:55:41,930 It's that when you go to post produce them, 1199 00:55:41,930 --> 00:55:44,930 later, you end up having to bring up the noise floor 1200 00:55:44,930 --> 00:55:51,950 and you introduce "hiss" or the ambience of the room comes to the forefront. 1201 00:55:51,950 --> 00:55:53,540 And it sounds like the internal mic-- 1202 00:55:53,540 --> 00:55:55,373 the first one that we listened to, which was 1203 00:55:55,373 --> 00:55:57,440 really awful now that we've heard Dan talk 1204 00:55:57,440 --> 00:56:00,170 through all of these other microphones. 1205 00:56:00,170 --> 00:56:01,340 OK. 1206 00:56:01,340 --> 00:56:05,450 So as an example, this is an example of audio 1207 00:56:05,450 --> 00:56:12,875 recorded that is sort of bridging through a good range of decibels. 1208 00:56:12,875 --> 00:56:14,750 It's actually maybe getting a little bit hot. 1209 00:56:14,750 --> 00:56:16,583 Right there, it actually clips a little bit. 1210 00:56:16,583 --> 00:56:17,960 So maybe we would adjust that. 1211 00:56:17,960 --> 00:56:20,640 But that the noise floor is down at the bottom. 1212 00:56:20,640 --> 00:56:23,330 And so if I wanted to take this and adjust it a little bit, 1213 00:56:23,330 --> 00:56:25,205 maybe I wanted to make it a little bit louder 1214 00:56:25,205 --> 00:56:27,050 and I was OK with those elements clipping, 1215 00:56:27,050 --> 00:56:29,330 I'm not going to bring the noise floor up that much. 1216 00:56:29,330 --> 00:56:30,410 Just a little bit. 1217 00:56:30,410 --> 00:56:32,910 Or if I want to take the signal and actually depress it down 1218 00:56:32,910 --> 00:56:35,545 a little bit because it's maybe too hot, I'm 1219 00:56:35,545 --> 00:56:38,420 actually going to depress the noise floor at this point a little bit. 1220 00:56:38,420 --> 00:56:40,753 It's not going to go that much further down because it's 1221 00:56:40,753 --> 00:56:42,770 sort of inherent noise in the system. 1222 00:56:42,770 --> 00:56:47,660 But I'm definitely not going to bring it up by dropping down the levels. 1223 00:56:47,660 --> 00:56:48,530 OK? 1224 00:56:48,530 --> 00:56:53,600 So you need to be very careful when you're recording and striking 1225 00:56:53,600 --> 00:56:56,730 a good range of levels is really important. 1226 00:56:56,730 --> 00:56:58,790 And so there's a trap, right? 1227 00:56:58,790 --> 00:57:01,442 Because we're used to putting on headphones 1228 00:57:01,442 --> 00:57:02,900 and sort of listening to something. 1229 00:57:02,900 --> 00:57:06,350 And it sounds good, it sounds loud, right? 1230 00:57:06,350 --> 00:57:09,080 That's us recording at a loud level, right? 1231 00:57:09,080 --> 00:57:13,040 But the problem is in most recorders, the headphone volume 1232 00:57:13,040 --> 00:57:17,930 is independent of the record levels. 1233 00:57:17,930 --> 00:57:19,550 So we could be in-- 1234 00:57:19,550 --> 00:57:24,770 oops-- this situation where we're recording really low levels, 1235 00:57:24,770 --> 00:57:27,590 but we had the headphone volume turned all the way up, 1236 00:57:27,590 --> 00:57:30,060 and it sounds really good. 1237 00:57:30,060 --> 00:57:31,635 It sounds loud. 1238 00:57:31,635 --> 00:57:32,510 We're like, OK, good. 1239 00:57:32,510 --> 00:57:33,843 We're getting good, loud levels. 1240 00:57:33,843 --> 00:57:34,730 This will be great. 1241 00:57:34,730 --> 00:57:36,563 And you get into post-production, and you're 1242 00:57:36,563 --> 00:57:39,320 left with something that's way down here because you actually 1243 00:57:39,320 --> 00:57:42,550 recorded a signal different than what you were monitoring. 1244 00:57:42,550 --> 00:57:45,800 DAN COFFEY: And it's especially true if you're in the room doing the recording 1245 00:57:45,800 --> 00:57:47,860 because the sound of the room is all around you. 1246 00:57:47,860 --> 00:57:50,870 So when you hear it in the headphones, it's less obvious to you. 1247 00:57:50,870 --> 00:57:53,870 But when you go to a space that is different acoustically 1248 00:57:53,870 --> 00:57:58,520 and has a different noise footprint, it really stands out, that noise floor. 1249 00:57:58,520 --> 00:57:59,270 IAN SEXTON: Right. 1250 00:57:59,270 --> 00:58:03,247 So-- no, we're not doing it again. 1251 00:58:03,247 --> 00:58:04,080 DAN COFFEY: "Hello." 1252 00:58:04,080 --> 00:58:05,910 IAN SEXTON: Oh. 1253 00:58:05,910 --> 00:58:06,410 [LAUGHTER] 1254 00:58:06,410 --> 00:58:09,740 So monitoring the levels, looking at the view meters, 1255 00:58:09,740 --> 00:58:14,390 and visually assessing where the levels of your audio are 1256 00:58:14,390 --> 00:58:16,673 becomes the most important thing. 1257 00:58:16,673 --> 00:58:18,590 The headphones are really helpful because they 1258 00:58:18,590 --> 00:58:21,680 can tell you about audio quality. 1259 00:58:21,680 --> 00:58:26,490 If there's a crackle because the cable is loose or something like that, 1260 00:58:26,490 --> 00:58:32,240 or there is some weird "hiss" that's in the audio, 1261 00:58:32,240 --> 00:58:35,420 or you can hear the sound of an AC duct above you, 1262 00:58:35,420 --> 00:58:37,550 that's something that you use the headphones for. 1263 00:58:37,550 --> 00:58:39,000 It's about the quality. 1264 00:58:39,000 --> 00:58:43,880 The actual recording levels, you use the visual indicator of the VU meters 1265 00:58:43,880 --> 00:58:48,897 as your reference material, and you mix to minus 12. 1266 00:58:48,897 --> 00:58:50,230 You had a question, [INAUDIBLE]? 1267 00:58:50,230 --> 00:58:51,270 AUDIENCE: Oh, you answered it. 1268 00:58:51,270 --> 00:58:51,980 IAN SEXTON: OK. 1269 00:58:51,980 --> 00:58:54,440 All right. 1270 00:58:54,440 --> 00:58:57,860 So over modulation means you throw information away 1271 00:58:57,860 --> 00:58:59,310 and you can't get it back. 1272 00:58:59,310 --> 00:59:02,780 Here's a view of audio wave forms, which you 1273 00:59:02,780 --> 00:59:05,870 may be familiar with if you've done any editing. 1274 00:59:05,870 --> 00:59:09,860 This audio is recorded reasonably well. 1275 00:59:09,860 --> 00:59:11,870 We see peaks, we see valleys. 1276 00:59:11,870 --> 00:59:14,900 Nothing is sort of over modulating or clipping. 1277 00:59:14,900 --> 00:59:18,120 Here you can see that it actually is clipping. 1278 00:59:18,120 --> 00:59:21,320 It's truncated across the top. 1279 00:59:21,320 --> 00:59:24,110 It has gotten up to the top of the dynamic range 1280 00:59:24,110 --> 00:59:27,230 and thrown information away because it just can't record anymore. 1281 00:59:27,230 --> 00:59:31,310 There's no more room for audio to be recorded. 1282 00:59:31,310 --> 00:59:33,140 No more room for that data. 1283 00:59:33,140 --> 00:59:34,730 So it clips it and throws it away. 1284 00:59:34,730 --> 00:59:37,400 And then when you bring it down, you've thrown parts 1285 00:59:37,400 --> 00:59:39,440 of the frequency of Dan's voice away. 1286 00:59:39,440 --> 00:59:41,810 And that will never come back into your audio. 1287 00:59:41,810 --> 00:59:44,750 Even if you bring the levels down so it gets quieter, 1288 00:59:44,750 --> 00:59:47,580 you can't add that information back in. 1289 00:59:47,580 --> 00:59:48,080 OK? 1290 00:59:48,080 --> 00:59:50,455 So these are the two sort of extremes of recording audio, 1291 00:59:50,455 --> 00:59:54,690 and they're the two pitfalls that's going to happen to you at some point. 1292 00:59:54,690 --> 00:59:56,780 We have all recorded over modulated audio 1293 00:59:56,780 --> 00:59:59,655 because we didn't check the levels or we were listening on headphones 1294 00:59:59,655 --> 01:00:00,380 and not looking. 1295 01:00:00,380 --> 01:00:05,090 And we've all recorded too low for the same reasons. 1296 01:00:05,090 --> 01:00:09,330 So it will happen, but you can guard against it. 1297 01:00:09,330 --> 01:00:10,370 All right. 1298 01:00:10,370 --> 01:00:13,550 So environmental tone. 1299 01:00:13,550 --> 01:00:16,760 So in a situation where you're recording audio, 1300 01:00:16,760 --> 01:00:20,000 especially in a situation where you're recording audio for video, 1301 01:00:20,000 --> 01:00:24,410 it's not enough just to get the dialogue of the person speaking 1302 01:00:24,410 --> 01:00:28,700 throughout the several clips or in any given moment. 1303 01:00:28,700 --> 01:00:32,470 What you also need to do is record the space that you're in. 1304 01:00:32,470 --> 01:00:32,970 All right? 1305 01:00:32,970 --> 01:00:34,080 So let's all take a moment. 1306 01:00:34,080 --> 01:00:37,080 And for those of you online, if you pull your earphones out for a second 1307 01:00:37,080 --> 01:00:39,710 and just sit quietly and listen to the space that you're in 1308 01:00:39,710 --> 01:00:42,218 and listen to how loud it actually is. 1309 01:00:42,218 --> 01:00:45,564 [AMBIENT NOISE] 1310 01:00:45,564 --> 01:00:49,880 1311 01:00:49,880 --> 01:00:52,580 This room particularly is incredibly loud. 1312 01:00:52,580 --> 01:00:54,800 There's a giant air handler up in the back, 1313 01:00:54,800 --> 01:00:58,280 and it is vibrating this whole room. 1314 01:00:58,280 --> 01:01:00,342 But so in your location, maybe the window's open 1315 01:01:00,342 --> 01:01:03,050 and there's some children playing outside or something like that, 1316 01:01:03,050 --> 01:01:06,710 or there's traffic noise, or there's wind rustling in some leaves. 1317 01:01:06,710 --> 01:01:12,202 Every location has an ambient tone to it, OK? 1318 01:01:12,202 --> 01:01:14,660 So when you're recording in a location, what you want to do 1319 01:01:14,660 --> 01:01:19,643 is record 30 to 60 seconds of environmental tone. 1320 01:01:19,643 --> 01:01:20,810 It's often called room tone. 1321 01:01:20,810 --> 01:01:23,060 I'm trying not to call it that because we're not always in a room 1322 01:01:23,060 --> 01:01:23,960 when we do this. 1323 01:01:23,960 --> 01:01:25,215 Sometimes we're outside. 1324 01:01:25,215 --> 01:01:26,090 It's getting ambient. 1325 01:01:26,090 --> 01:01:30,110 So environmental tone or ambient noise. 1326 01:01:30,110 --> 01:01:33,920 But recording that allows you to, say, take two 1327 01:01:33,920 --> 01:01:37,537 takes where I was saying something-- 1328 01:01:37,537 --> 01:01:39,120 or Dan and I are having conversations. 1329 01:01:39,120 --> 01:01:39,890 Hi, how are you? 1330 01:01:39,890 --> 01:01:40,880 DAN COFFEY: I'm well, thank you. 1331 01:01:40,880 --> 01:01:41,660 IAN SEXTON: OK, that's take one. 1332 01:01:41,660 --> 01:01:42,980 We're going to do it again. 1333 01:01:42,980 --> 01:01:43,683 Hi, how are you? 1334 01:01:43,683 --> 01:01:44,850 DAN COFFEY: I'm great today. 1335 01:01:44,850 --> 01:01:46,450 IAN SEXTON: Oh, so I like that one better, right? 1336 01:01:46,450 --> 01:01:49,160 But I liked my delivery from the first one, and I liked his second delivery, 1337 01:01:49,160 --> 01:01:50,780 and I'm going to put them together. 1338 01:01:50,780 --> 01:01:53,090 But they're temporarily out of sync in reality. 1339 01:01:53,090 --> 01:01:57,170 We shot them at different times, which means that the ambience of the space 1340 01:01:57,170 --> 01:01:59,150 may have changed. 1341 01:01:59,150 --> 01:02:02,465 It may be different, OK? 1342 01:02:02,465 --> 01:02:04,310 It, in fact, is different. 1343 01:02:04,310 --> 01:02:10,370 So when you butt them up together, there will be a just a slight audio hiccup. 1344 01:02:10,370 --> 01:02:14,570 And so if you take this environmental tone that you've recorded, embed it 1345 01:02:14,570 --> 01:02:18,620 down underneath, you can hide that little hiccup 1346 01:02:18,620 --> 01:02:24,370 because you have a continuous space tone underneath your recording. 1347 01:02:24,370 --> 01:02:25,510 OK? 1348 01:02:25,510 --> 01:02:27,260 So it's something that's often overlooked. 1349 01:02:27,260 --> 01:02:28,760 And I think when people are shooting a lot, 1350 01:02:28,760 --> 01:02:30,260 they tend to rush through this step. 1351 01:02:30,260 --> 01:02:35,510 But this step will make your audio 1,000 times better in post-production. 1352 01:02:35,510 --> 01:02:38,170 All right? 1353 01:02:38,170 --> 01:02:39,180 OK. 1354 01:02:39,180 --> 01:02:41,700 So a little bit about audio hardware. 1355 01:02:41,700 --> 01:02:44,160 This is not exhaustive by any means, but just a few things 1356 01:02:44,160 --> 01:02:46,440 that you may encounter along the way. 1357 01:02:46,440 --> 01:02:49,260 There's different kinds of cables and connectors. 1358 01:02:49,260 --> 01:02:56,340 On this side here is an XLR cable, which comes as a three pin connector. 1359 01:02:56,340 --> 01:03:01,380 And then this side is a quarter inch TRS, which is tip ringed sleeve. 1360 01:03:01,380 --> 01:03:01,950 OK? 1361 01:03:01,950 --> 01:03:03,750 DAN COFFEY: This is a gendered cable. 1362 01:03:03,750 --> 01:03:06,270 So This is a female end of an XLR cable. 1363 01:03:06,270 --> 01:03:07,960 The male end has prongs that stick out. 1364 01:03:07,960 --> 01:03:08,710 IAN SEXTON: Right. 1365 01:03:08,710 --> 01:03:11,280 That would then fit into that cable. 1366 01:03:11,280 --> 01:03:13,018 OK. 1367 01:03:13,018 --> 01:03:14,310 This is the same kind of cable. 1368 01:03:14,310 --> 01:03:15,300 I should have switched the gender on this one. 1369 01:03:15,300 --> 01:03:16,500 That would have been good. 1370 01:03:16,500 --> 01:03:19,123 But this is an 1/8 inch tapering sleeve connector, which 1371 01:03:19,123 --> 01:03:22,290 is the same thing you might find in your aux cable for your car or something 1372 01:03:22,290 --> 01:03:22,920 like that. 1373 01:03:22,920 --> 01:03:25,300 OK? 1374 01:03:25,300 --> 01:03:31,140 DSLR's, for the most part, accept 1/8 inch inputs for their audio, OK? 1375 01:03:31,140 --> 01:03:33,060 So if you have a microphone, you may have 1376 01:03:33,060 --> 01:03:35,460 one that mounts on your camera that has an 1/8 inch 1377 01:03:35,460 --> 01:03:39,560 connector that goes into that DSLR. 1378 01:03:39,560 --> 01:03:43,680 Or in this case, what we've done is taken a two channel mixer. 1379 01:03:43,680 --> 01:03:47,810 So we can put two microphones into this, we can mix it here, 1380 01:03:47,810 --> 01:03:52,830 just the specific levels, and then feed the output right into the DSLR. 1381 01:03:52,830 --> 01:03:53,910 OK? 1382 01:03:53,910 --> 01:03:57,030 So again, this is getting into that idea that there are stages of gain. 1383 01:03:57,030 --> 01:04:01,440 There's a gain stage at the mixer, but there's also a gain stage at the DSLR. 1384 01:04:01,440 --> 01:04:03,340 The DSLR is expecting some kind of signal in. 1385 01:04:03,340 --> 01:04:05,470 And if it was boosted-- 1386 01:04:05,470 --> 01:04:07,470 expected it like a really quiet signal, it maybe 1387 01:04:07,470 --> 01:04:09,220 boosted way up, which would over modulate. 1388 01:04:09,220 --> 01:04:13,380 So you need to be careful and check each of these stages. 1389 01:04:13,380 --> 01:04:14,310 OK? 1390 01:04:14,310 --> 01:04:18,600 So this is the idea of internal recording versus external recording. 1391 01:04:18,600 --> 01:04:23,220 When you record with an internal microphone on a video camera, 1392 01:04:23,220 --> 01:04:25,843 the audio and video is synced. 1393 01:04:25,843 --> 01:04:29,010 You pull one file down, it's got some audio on it, and it's got video on it. 1394 01:04:29,010 --> 01:04:31,020 And as I talk, I have lip sync. 1395 01:04:31,020 --> 01:04:35,970 If I clap my hands, the sound matches up to when I clap my hands. 1396 01:04:35,970 --> 01:04:40,650 If you record externally, say, on a Zoom recorder or something 1397 01:04:40,650 --> 01:04:45,827 like that, then all of a sudden it's not synced with the audio. 1398 01:04:45,827 --> 01:04:47,910 There are two independent files that get recorded. 1399 01:04:47,910 --> 01:04:53,050 One camera file and one audio file on two separate recorders. 1400 01:04:53,050 --> 01:04:53,550 All right? 1401 01:04:53,550 --> 01:04:58,320 So in order to synchronize these, we get really old school and we 1402 01:04:58,320 --> 01:05:01,910 use a slate, which is that-- 1403 01:05:01,910 --> 01:05:02,410 where is it? 1404 01:05:02,410 --> 01:05:03,952 DAN COFFEY: I think it's in the back. 1405 01:05:03,952 --> 01:05:05,460 IAN SEXTON: It's in the back. 1406 01:05:05,460 --> 01:05:10,200 Which essentially is a board that you can write on with a little stick 1407 01:05:10,200 --> 01:05:12,120 that you can clap. 1408 01:05:12,120 --> 01:05:13,890 And you point it at the camera. 1409 01:05:13,890 --> 01:05:17,310 And as the sticks close, when they finally close, 1410 01:05:17,310 --> 01:05:18,810 that's where this sound gets made. 1411 01:05:18,810 --> 01:05:21,810 So at this video point here where the play head is 1412 01:05:21,810 --> 01:05:25,012 is where these clapper sticks have closed. 1413 01:05:25,012 --> 01:05:26,970 And then on the external audio that I recorded, 1414 01:05:26,970 --> 01:05:32,130 this is the point where the sticks closed. 1415 01:05:32,130 --> 01:05:35,344 So you can hear it and see it. 1416 01:05:35,344 --> 01:05:37,980 All right? 1417 01:05:37,980 --> 01:05:45,000 And all you need to do now is align this peak with the moment when it closes. 1418 01:05:45,000 --> 01:05:49,020 And all of the audio for those clips will be in sync thereafter. 1419 01:05:49,020 --> 01:05:50,130 OK? 1420 01:05:50,130 --> 01:05:52,720 This is a manual process. 1421 01:05:52,720 --> 01:05:54,460 It takes time. 1422 01:05:54,460 --> 01:05:56,110 All right? 1423 01:05:56,110 --> 01:05:56,610 OK. 1424 01:05:56,610 --> 01:05:58,530 There are modern approaches. 1425 01:05:58,530 --> 01:06:01,590 There's PluralEyes and Woowave DreamSync. 1426 01:06:01,590 --> 01:06:04,650 And even in Premier, it has built in audio synchronization 1427 01:06:04,650 --> 01:06:09,330 between different audio and video tracks. 1428 01:06:09,330 --> 01:06:13,290 One of the things that you can do is record a piece of scratch audio 1429 01:06:13,290 --> 01:06:16,320 or use a scratch mic-- use the internal microphone of your camera 1430 01:06:16,320 --> 01:06:19,620 to get synced audio that then can be matched 1431 01:06:19,620 --> 01:06:23,127 through the processing of your editing software to the external audio 1432 01:06:23,127 --> 01:06:24,210 that you recorded as well. 1433 01:06:24,210 --> 01:06:25,320 AUDIENCE: That is so cool. 1434 01:06:25,320 --> 01:06:26,237 IAN SEXTON: All right? 1435 01:06:26,237 --> 01:06:29,340 So there's no reason ever to turn off an internal microphone on a camera. 1436 01:06:29,340 --> 01:06:31,290 Just let it record audio because it's really small. 1437 01:06:31,290 --> 01:06:33,510 It'll sound like garbage, but you're never going to use it. 1438 01:06:33,510 --> 01:06:35,468 You're going to use the audio that you recorded 1439 01:06:35,468 --> 01:06:39,488 on your external audio recorder and just match them using that sound. 1440 01:06:39,488 --> 01:06:42,030 So this is what one of those audio recorders might look like. 1441 01:06:42,030 --> 01:06:43,590 It's a Zoom recorder. 1442 01:06:43,590 --> 01:06:45,930 It can take four inputs, but it also has this sort 1443 01:06:45,930 --> 01:06:47,190 of stereo pair of microphones. 1444 01:06:47,190 --> 01:06:49,850 So you can actually just point it at things and record it that way. 1445 01:06:49,850 --> 01:06:52,170 DAN COFFEY: And you're saying "Zoom," which is the brand of recorder. 1446 01:06:52,170 --> 01:06:53,712 But any external recorder. 1447 01:06:53,712 --> 01:06:55,170 There are many brands of recorders. 1448 01:06:55,170 --> 01:06:55,400 IAN SEXTON: Yeah. 1449 01:06:55,400 --> 01:06:57,480 There's TASCAM, and there's lots and lots of different recorders. 1450 01:06:57,480 --> 01:07:00,890 This is just the one we had in the office, so I took a picture of it. 1451 01:07:00,890 --> 01:07:03,480 OK? 1452 01:07:03,480 --> 01:07:07,170 Another little piece of software that's sort of interesting that it's actually 1453 01:07:07,170 --> 01:07:09,540 really fun when you start to get into more sound design 1454 01:07:09,540 --> 01:07:11,820 is picking up one of these phone recorders. 1455 01:07:11,820 --> 01:07:15,048 And so when you do a voice memo or something on your phone, 1456 01:07:15,048 --> 01:07:16,590 you have very little control over it. 1457 01:07:16,590 --> 01:07:18,507 You start the recording and stop the recording 1458 01:07:18,507 --> 01:07:20,230 and you can name it whatever you want. 1459 01:07:20,230 --> 01:07:21,270 That's about it. 1460 01:07:21,270 --> 01:07:24,780 So this gives you some level indication. 1461 01:07:24,780 --> 01:07:28,110 It allows you to increase the gain or decrease the gain, 1462 01:07:28,110 --> 01:07:31,950 choose a bit rate and a sample rate. 1463 01:07:31,950 --> 01:07:34,530 So again, getting a little bit more focused 1464 01:07:34,530 --> 01:07:38,430 and considerate about how we're approaching our audio, 1465 01:07:38,430 --> 01:07:42,660 but still using something that most people have in their pocket. 1466 01:07:42,660 --> 01:07:44,820 OK? 1467 01:07:44,820 --> 01:07:45,840 All right. 1468 01:07:45,840 --> 01:07:46,950 Look at that. 1469 01:07:46,950 --> 01:07:49,060 It is 19 o'clock, and it's time for a break. 1470 01:07:49,060 --> 01:07:50,740 So we'll take a quick five minute break. 1471 01:07:50,740 --> 01:07:51,720 And then we'll come back, and we're going 1472 01:07:51,720 --> 01:07:54,060 to deal a little bit with audio post-production and dive 1473 01:07:54,060 --> 01:07:56,980 into the concepts of sound design a little more generally. 1474 01:07:56,980 --> 01:07:59,830 And we'll see you in five minutes. 1475 01:07:59,830 --> 01:08:00,330 All right. 1476 01:08:00,330 --> 01:08:01,020 Welcome back. 1477 01:08:01,020 --> 01:08:04,560 So let's talk a little bit about audio post-production. 1478 01:08:04,560 --> 01:08:07,260 So sound in editing. 1479 01:08:07,260 --> 01:08:11,460 When we are sort of capturing audio and video 1480 01:08:11,460 --> 01:08:15,390 and putting shots together to make a sequence, 1481 01:08:15,390 --> 01:08:20,340 we'll probably capture some dialogue with it, maybe some sort of bass sound 1482 01:08:20,340 --> 01:08:22,200 effects that are happening on screen. 1483 01:08:22,200 --> 01:08:25,740 But when we watch movies, the sound design is incredibly immersive, right? 1484 01:08:25,740 --> 01:08:28,770 We hear people's footsteps as they walk. 1485 01:08:28,770 --> 01:08:33,840 We hear all different kinds of elements that 1486 01:08:33,840 --> 01:08:38,010 may not be picked up on the microphone that's being used in the scene 1487 01:08:38,010 --> 01:08:41,229 to record the audio or the dialogue in a given scene. 1488 01:08:41,229 --> 01:08:41,729 All right? 1489 01:08:41,729 --> 01:08:44,729 As I walk around, you probably are having a hard time 1490 01:08:44,729 --> 01:08:46,420 hearing my footsteps. 1491 01:08:46,420 --> 01:08:48,390 But if I were to make a video of this, I would 1492 01:08:48,390 --> 01:08:51,450 be able to add in some kind of footsteps underneath that 1493 01:08:51,450 --> 01:08:54,420 to increase the immersion of the space. 1494 01:08:54,420 --> 01:08:55,529 All right? 1495 01:08:55,529 --> 01:08:57,810 These kinds of things are called Foley, which 1496 01:08:57,810 --> 01:09:00,359 is what is happening here on the screen where 1497 01:09:00,359 --> 01:09:05,970 these guys are stepping on rocks to make the sound of someone walking on gravel. 1498 01:09:05,970 --> 01:09:08,970 There is ADR, which is this idea of automatic dialogue replacement where 1499 01:09:08,970 --> 01:09:13,740 you actually could record someone saying a line in another time 1500 01:09:13,740 --> 01:09:17,410 or in another space and then insert that into your film later. 1501 01:09:17,410 --> 01:09:20,010 So if the microphone is over modulated, and we 1502 01:09:20,010 --> 01:09:22,890 get poor audio recording for this lecture, 1503 01:09:22,890 --> 01:09:25,890 maybe I'll go into a sound booth and I'll record the lecture again, 1504 01:09:25,890 --> 01:09:30,439 and they'll just match it to my sort of-- 1505 01:09:30,439 --> 01:09:31,020 no. 1506 01:09:31,020 --> 01:09:32,880 DAN COFFEY: Realistically, because we have the luxury of it, 1507 01:09:32,880 --> 01:09:36,187 you come back to this exact space because the noise print is the same. 1508 01:09:36,187 --> 01:09:37,020 IAN SEXTON: Exactly. 1509 01:09:37,020 --> 01:09:39,562 And then there's further sound design like things like music, 1510 01:09:39,562 --> 01:09:42,450 et cetera, and other sort of sound elements. 1511 01:09:42,450 --> 01:09:46,439 So the lifecycle of an audio in a project starts with recording. 1512 01:09:46,439 --> 01:09:49,213 You get through picture editing and rough audio place holders. 1513 01:09:49,213 --> 01:09:51,630 Maybe you actually drop a track of music in that you like, 1514 01:09:51,630 --> 01:09:53,069 and that's what you're editing to. 1515 01:09:53,069 --> 01:09:55,147 Maybe there's some sort of sound elements 1516 01:09:55,147 --> 01:09:58,230 that you grabbed off the internet or something, and they're place holders. 1517 01:09:58,230 --> 01:09:59,897 But eventually, you get to picture lock. 1518 01:09:59,897 --> 01:10:02,742 And then you're done making your edits. 1519 01:10:02,742 --> 01:10:04,450 There's no more changes that you're going 1520 01:10:04,450 --> 01:10:07,110 to make to the sequence of your shots in any way. 1521 01:10:07,110 --> 01:10:08,640 That's called picture lock. 1522 01:10:08,640 --> 01:10:09,900 And from there, you're going to go in, and you're 1523 01:10:09,900 --> 01:10:12,817 going to take your bass dialogue, and you're going to begin to mix it, 1524 01:10:12,817 --> 01:10:15,270 you're going to lay in your ambient room tones underneath, 1525 01:10:15,270 --> 01:10:18,970 and you're going to add your sound effects, music, and other elements. 1526 01:10:18,970 --> 01:10:19,860 OK? 1527 01:10:19,860 --> 01:10:23,490 And when that's done, essentially, you can export it as your finished product. 1528 01:10:23,490 --> 01:10:26,040 And you have created a much more immersive soundscape 1529 01:10:26,040 --> 01:10:29,462 than you would have if you just had the dialogue, right? 1530 01:10:29,462 --> 01:10:30,170 DAN COFFEY: Yeah. 1531 01:10:30,170 --> 01:10:33,460 And you have picture lock for usually bigger projects. 1532 01:10:33,460 --> 01:10:36,450 Because what happens is you get your editor, and you get to a point 1533 01:10:36,450 --> 01:10:40,650 where you say, OK, nothing is going to change time wise for my movie 1534 01:10:40,650 --> 01:10:42,330 or whatever it is I'm making. 1535 01:10:42,330 --> 01:10:45,150 And so then you can send a copy of it to your sound design 1536 01:10:45,150 --> 01:10:48,780 team, who's going to do all the audio editing and finessing and whatnot. 1537 01:10:48,780 --> 01:10:51,360 And you could send the picture to your coloring team, who's 1538 01:10:51,360 --> 01:10:55,532 going to take it and do all the coloring and color correction 1539 01:10:55,532 --> 01:10:56,490 and that kind of thing. 1540 01:10:56,490 --> 01:10:57,922 So they can work at the same time. 1541 01:10:57,922 --> 01:10:59,880 And at the end, you can put them back together. 1542 01:10:59,880 --> 01:11:00,588 IAN SEXTON: Yeah. 1543 01:11:00,588 --> 01:11:03,150 And so if you're sort of a single person shop, 1544 01:11:03,150 --> 01:11:05,700 it's maybe less important to achieve picture lock. 1545 01:11:05,700 --> 01:11:07,682 You can work on these things sort of piecemeal, 1546 01:11:07,682 --> 01:11:09,390 and you can go back in because you're not 1547 01:11:09,390 --> 01:11:14,220 sort of conforming it to other copies that exist in the world. 1548 01:11:14,220 --> 01:11:15,030 OK? 1549 01:11:15,030 --> 01:11:16,500 So audio layers that exist. 1550 01:11:16,500 --> 01:11:18,270 There's music, ambience and atmospheric. 1551 01:11:18,270 --> 01:11:21,690 We talked about environmental tone, sound effects, and dialogue, 1552 01:11:21,690 --> 01:11:22,950 essentially. 1553 01:11:22,950 --> 01:11:23,640 All right? 1554 01:11:23,640 --> 01:11:27,870 So we're going to watch a short clip here from a film. 1555 01:11:27,870 --> 01:11:30,098 And let's just go for it. 1556 01:11:30,098 --> 01:11:31,890 So if we could dim the lights for a second. 1557 01:11:31,890 --> 01:11:35,180 I won't preface this too much. 1558 01:11:35,180 --> 01:11:40,050 - [PANTING] 1559 01:11:40,050 --> 01:11:40,902 - Steady yourself! 1560 01:11:40,902 --> 01:11:42,078 [YELLING] 1561 01:11:42,078 --> 01:11:43,370 - Whoa, whoa, whoa, whoa, whoa! 1562 01:11:43,370 --> 01:11:44,342 - Little help? 1563 01:11:44,342 --> 01:11:44,950 Help! 1564 01:11:44,950 --> 01:11:45,810 Help! 1565 01:11:45,810 --> 01:11:46,792 - Mike, you good? 1566 01:11:46,792 --> 01:11:47,292 - [GRUNTS] 1567 01:11:47,292 --> 01:11:48,890 - Are these ladders going to take two? 1568 01:11:48,890 --> 01:11:49,200 - Yeah. 1569 01:11:49,200 --> 01:11:49,720 I'll get a rope. 1570 01:11:49,720 --> 01:11:50,350 I'll belay you. 1571 01:11:50,350 --> 01:11:50,590 OK? 1572 01:11:50,590 --> 01:11:51,842 - Just stay right where you are, mate. 1573 01:11:51,842 --> 01:11:53,200 - I can't pull myself up! 1574 01:11:53,200 --> 01:11:54,675 - I'm going to come out to you. 1575 01:11:54,675 --> 01:11:55,860 - [GRUNTS] OK. 1576 01:11:55,860 --> 01:11:56,650 - Good, Beck. 1577 01:11:56,650 --> 01:11:56,850 You're OK. 1578 01:11:56,850 --> 01:11:57,680 - Whoa, whoa, whoa. 1579 01:11:57,680 --> 01:11:58,390 Whoa, whoa whoa. 1580 01:11:58,390 --> 01:11:59,000 - Tie me in, Scott. 1581 01:11:59,000 --> 01:11:59,380 Tie me in. 1582 01:11:59,380 --> 01:11:59,800 - One sec. 1583 01:11:59,800 --> 01:12:00,610 - Come and get me! 1584 01:12:00,610 --> 01:12:01,170 - On Belay? 1585 01:12:01,170 --> 01:12:01,560 - Got it. 1586 01:12:01,560 --> 01:12:02,170 On belay. 1587 01:12:02,170 --> 01:12:03,275 - Let's go. 1588 01:12:03,275 --> 01:12:04,550 I'm coming out to you, Beck. 1589 01:12:04,550 --> 01:12:06,026 Here I come, mate. 1590 01:12:06,026 --> 01:12:11,067 - [WHIMPERS] [GRUNTS] 1591 01:12:11,067 --> 01:12:12,150 - (ECHOING) Nice and easy. 1592 01:12:12,150 --> 01:12:15,000 You're tied in, mate. 1593 01:12:15,000 --> 01:12:16,170 - I can't feel my hands. 1594 01:12:16,170 --> 01:12:17,310 - You're looking good. 1595 01:12:17,310 --> 01:12:17,913 - Grab me. 1596 01:12:17,913 --> 01:12:18,413 - Hey, Beck. 1597 01:12:18,413 --> 01:12:18,680 Beck, Beck. 1598 01:12:18,680 --> 01:12:19,200 - Grab me! 1599 01:12:19,200 --> 01:12:20,700 - Stay right where you are, mate. 1600 01:12:20,700 --> 01:12:21,830 - I can't pull myself up. 1601 01:12:21,830 --> 01:12:24,120 I can't pull myself up! 1602 01:12:24,120 --> 01:12:25,386 - I got you. 1603 01:12:25,386 --> 01:12:28,510 [GRUNTING] 1604 01:12:28,510 --> 01:12:33,970 1605 01:12:33,970 --> 01:12:35,868 You OK? 1606 01:12:35,868 --> 01:12:37,410 - There's no guarantee to the summit. 1607 01:12:37,410 --> 01:12:38,540 I get it. 1608 01:12:38,540 --> 01:12:42,600 But to get killed because I'm waiting in line like I'm in freaking Wal-Mart! 1609 01:12:42,600 --> 01:12:46,775 IAN SEXTON: Obviously, this is probably not the film that got shipped, right? 1610 01:12:46,775 --> 01:12:47,400 AUDIENCE: Yeah. 1611 01:12:47,400 --> 01:12:50,950 IAN SEXTON: What is the audio that we hear in this scene? 1612 01:12:50,950 --> 01:12:52,740 AUDIENCE: Sounds like a voiceover. 1613 01:12:52,740 --> 01:12:53,448 IAN SEXTON: Yeah. 1614 01:12:53,448 --> 01:12:54,968 So it's just the dialogue, right? 1615 01:12:54,968 --> 01:12:57,510 Where really there's not a lot of anything going on in there. 1616 01:12:57,510 --> 01:13:00,030 There was one moment where there was some weird effect that was added. 1617 01:13:00,030 --> 01:13:00,900 Did you catch that? 1618 01:13:00,900 --> 01:13:01,900 AUDIENCE: In the cavern? 1619 01:13:01,900 --> 01:13:02,608 IAN SEXTON: Yeah. 1620 01:13:02,608 --> 01:13:04,470 When the camera was down in the chasm below, 1621 01:13:04,470 --> 01:13:07,410 they added some sort of reverb and echo and sort of actually 1622 01:13:07,410 --> 01:13:10,680 dropped the levels down of the audio in the space 1623 01:13:10,680 --> 01:13:14,660 to make it seem like our perspective was further away. 1624 01:13:14,660 --> 01:13:17,880 It changed our perspective using audio cues, 1625 01:13:17,880 --> 01:13:21,330 decreasing the intensity or perceived loudness 1626 01:13:21,330 --> 01:13:26,060 and then adding some reverb to suggest a position or place or an environment. 1627 01:13:26,060 --> 01:13:26,850 OK? 1628 01:13:26,850 --> 01:13:28,590 So audio actually has a-- 1629 01:13:28,590 --> 01:13:30,970 what's that? 1630 01:13:30,970 --> 01:13:33,450 AUDIENCE: I totally thought that you guys had recorded 1631 01:13:33,450 --> 01:13:35,465 (LAUGHING) the dialogue for a minute. 1632 01:13:35,465 --> 01:13:36,090 IAN SEXTON: Oh. 1633 01:13:36,090 --> 01:13:36,990 That we had recorded it? 1634 01:13:36,990 --> 01:13:37,920 And it was just like-- 1635 01:13:37,920 --> 01:13:38,280 OK. 1636 01:13:38,280 --> 01:13:38,520 Yeah. 1637 01:13:38,520 --> 01:13:39,198 [LAUGHS] 1638 01:13:39,198 --> 01:13:40,740 AUDIENCE: So you guys didn't do that? 1639 01:13:40,740 --> 01:13:41,040 IAN SEXTON: No. 1640 01:13:41,040 --> 01:13:43,080 This is the actual dialogue from the scene. 1641 01:13:43,080 --> 01:13:43,650 OK? 1642 01:13:43,650 --> 01:13:44,820 But let's look at this. 1643 01:13:44,820 --> 01:13:49,110 And what are some things that are missing? 1644 01:13:49,110 --> 01:13:50,180 AUDIENCE: The wind. 1645 01:13:50,180 --> 01:13:50,520 IAN SEXTON: OK. 1646 01:13:50,520 --> 01:13:51,603 So there's no wind, right? 1647 01:13:51,603 --> 01:13:54,130 So if we're going to do sound design on this scene, 1648 01:13:54,130 --> 01:13:56,130 one of the things that we're going to want to do 1649 01:13:56,130 --> 01:13:57,507 is figure out how to record wind. 1650 01:13:57,507 --> 01:13:58,590 What does that sound like? 1651 01:13:58,590 --> 01:14:01,440 How do we do that? 1652 01:14:01,440 --> 01:14:04,140 What are some other things? 1653 01:14:04,140 --> 01:14:06,360 AUDIENCE: There's no sound of them crossing 1654 01:14:06,360 --> 01:14:10,295 the ladder and no sound of the snow crunching, that kind of stuff. 1655 01:14:10,295 --> 01:14:10,920 IAN SEXTON: OK. 1656 01:14:10,920 --> 01:14:14,310 So some sort of-- their physical presence in the environment. 1657 01:14:14,310 --> 01:14:17,490 The sound of their boots on the ladder and the sound of their boots 1658 01:14:17,490 --> 01:14:18,300 on the snow. 1659 01:14:18,300 --> 01:14:20,310 OK, excellent. 1660 01:14:20,310 --> 01:14:21,618 What else? 1661 01:14:21,618 --> 01:14:23,910 What other sounds could you think that we could add in? 1662 01:14:23,910 --> 01:14:24,410 Go ahead. 1663 01:14:24,410 --> 01:14:24,960 Sorry. 1664 01:14:24,960 --> 01:14:31,050 AUDIENCE: Apart from the chasm reverb, it was so dry and in your face. 1665 01:14:31,050 --> 01:14:36,360 There was no sense of distance or walls or reflections of any type at all. 1666 01:14:36,360 --> 01:14:37,290 IAN SEXTON: Right. 1667 01:14:37,290 --> 01:14:38,790 So it's not mixed. 1668 01:14:38,790 --> 01:14:41,010 Everything's recorded at pretty much the same levels. 1669 01:14:41,010 --> 01:14:44,010 And there's no sort of proximity or understanding 1670 01:14:44,010 --> 01:14:45,850 of-- we're looking at a character over here, 1671 01:14:45,850 --> 01:14:49,860 and the person that's on the ladder should be maybe be a bit quieter. 1672 01:14:49,860 --> 01:14:52,210 DAN COFFEY: And it feels very fake as you watch it. 1673 01:14:52,210 --> 01:14:54,752 Because there's, I mean, nothing to bring you into the scene. 1674 01:14:54,752 --> 01:14:57,810 But also, if you watch, there's a lot of particular-- the snow in the air 1675 01:14:57,810 --> 01:14:59,730 as it was playing back. 1676 01:14:59,730 --> 01:15:02,253 And so in reality, do you think we're listening to the mics 1677 01:15:02,253 --> 01:15:03,420 that they had in the moment? 1678 01:15:03,420 --> 01:15:07,620 Or do you think we're listening to some ADR, that automated dialogue recording? 1679 01:15:07,620 --> 01:15:10,590 This is probably retracted stuff that was recorded 1680 01:15:10,590 --> 01:15:12,690 later that's been layered over this. 1681 01:15:12,690 --> 01:15:15,390 Ralph thought that we actually recorded this and dropped it in. 1682 01:15:15,390 --> 01:15:16,650 And that's not the case. 1683 01:15:16,650 --> 01:15:17,400 IAN SEXTON: But someone did. 1684 01:15:17,400 --> 01:15:18,120 DAN COFFEY: Somebody did. 1685 01:15:18,120 --> 01:15:18,660 Yeah. 1686 01:15:18,660 --> 01:15:20,640 But it's not convincing in isolation. 1687 01:15:20,640 --> 01:15:21,420 IAN SEXTON: Yeah. 1688 01:15:21,420 --> 01:15:25,420 So I mean, on top of this, there's all these sort of mountaineering elements. 1689 01:15:25,420 --> 01:15:29,250 There's the carabiners, and the ropes, and the lines. 1690 01:15:29,250 --> 01:15:33,600 There's this whole mountain collapses quietly in the background. 1691 01:15:33,600 --> 01:15:35,750 DAN COFFEY: You didn't realize why he fell. 1692 01:15:35,750 --> 01:15:36,500 IAN SEXTON: Right? 1693 01:15:36,500 --> 01:15:40,860 And so the immersion of this scene is just totally shattered for us. 1694 01:15:40,860 --> 01:15:41,970 It feels fake. 1695 01:15:41,970 --> 01:15:43,980 I don't understand what's happening. 1696 01:15:43,980 --> 01:15:47,070 And I do not believe any of this, right? 1697 01:15:47,070 --> 01:15:51,470 That sort of willful suspension of disbelief has been totally shattered. 1698 01:15:51,470 --> 01:15:54,100 All right. 1699 01:15:54,100 --> 01:15:57,516 [RUMBLING] 1700 01:15:57,516 --> 01:15:58,492 1701 01:15:58,492 --> 01:16:00,932 [SQUEAKING] 1702 01:16:00,932 --> 01:16:03,372 [RUMBLING] 1703 01:16:03,372 --> 01:16:05,580 - Steady yourself! 1704 01:16:05,580 --> 01:16:06,788 Whoa, whoa, whoa, whoa, whoa! 1705 01:16:06,788 --> 01:16:07,764 - Little help? 1706 01:16:07,764 --> 01:16:08,600 Help! 1707 01:16:08,600 --> 01:16:09,690 Help! 1708 01:16:09,690 --> 01:16:10,840 - Mike, you good? 1709 01:16:10,840 --> 01:16:11,340 [GRUNTS] 1710 01:16:11,340 --> 01:16:12,790 - Are these ladders going to take two? 1711 01:16:12,790 --> 01:16:13,100 - Yeah. 1712 01:16:13,100 --> 01:16:13,650 I'll get a rope. 1713 01:16:13,650 --> 01:16:14,340 I'll belay you. 1714 01:16:14,340 --> 01:16:14,570 OK? 1715 01:16:14,570 --> 01:16:16,153 - Just stay right where you are, mate. 1716 01:16:16,153 --> 01:16:17,280 - I can't pull myself up! 1717 01:16:17,280 --> 01:16:18,780 - I'm going to come out to you. 1718 01:16:18,780 --> 01:16:20,110 - [GRUNTS] OK. 1719 01:16:20,110 --> 01:16:20,780 - Good, Beck. 1720 01:16:20,780 --> 01:16:21,340 You're OK. 1721 01:16:21,340 --> 01:16:22,648 - Whoa, whoa, whoa. 1722 01:16:22,648 --> 01:16:23,440 - Tie me in, Scott. 1723 01:16:23,440 --> 01:16:23,650 Tie me in. 1724 01:16:23,650 --> 01:16:24,150 - One sec. 1725 01:16:24,150 --> 01:16:25,005 - Come and get me! 1726 01:16:25,005 --> 01:16:25,560 - On belay? 1727 01:16:25,560 --> 01:16:26,060 - Got it. 1728 01:16:26,060 --> 01:16:26,580 On belay. 1729 01:16:26,580 --> 01:16:27,750 - Let's go. 1730 01:16:27,750 --> 01:16:29,120 I'm coming out to you, Beck. 1731 01:16:29,120 --> 01:16:29,870 Here I come, mate. 1732 01:16:29,870 --> 01:16:31,289 [SUSPENSEFUL MUSIC] 1733 01:16:31,289 --> 01:16:36,019 - [WHIMPERS] [GRUNTS] 1734 01:16:36,019 --> 01:16:36,760 - Nice and easy. 1735 01:16:36,760 --> 01:16:39,910 You're tied in, mate. 1736 01:16:39,910 --> 01:16:41,240 - I can't feel my hands. 1737 01:16:41,240 --> 01:16:42,470 - You're looking good. 1738 01:16:42,470 --> 01:16:42,980 - Grab me. 1739 01:16:42,980 --> 01:16:43,890 - Beck, Beck, Beck. 1740 01:16:43,890 --> 01:16:44,390 - Grab me! 1741 01:16:44,390 --> 01:16:45,765 - Stay right where you are, mate. 1742 01:16:45,765 --> 01:16:46,970 - I can't pull myself up. 1743 01:16:46,970 --> 01:16:49,281 I can't pull myself up! 1744 01:16:49,281 --> 01:16:51,229 - I got you. 1745 01:16:51,229 --> 01:16:54,638 [GRUNTING] 1746 01:16:54,638 --> 01:16:59,530 1747 01:16:59,530 --> 01:17:01,000 - You OK? 1748 01:17:01,000 --> 01:17:03,370 - [GRUNTS] There's no guarantee to the summit. 1749 01:17:03,370 --> 01:17:04,370 I get it. 1750 01:17:04,370 --> 01:17:09,130 But to get killed because I'm waiting in line like I'm in freaking Wal-Mart! 1751 01:17:09,130 --> 01:17:14,350 IAN SEXTON: So same scene, but totally different, right? 1752 01:17:14,350 --> 01:17:17,160 So what did you notice that they added in? 1753 01:17:17,160 --> 01:17:18,327 AUDIENCE: Suspenseful music. 1754 01:17:18,327 --> 01:17:18,952 IAN SEXTON: OK. 1755 01:17:18,952 --> 01:17:20,530 So there's some music underneath it. 1756 01:17:20,530 --> 01:17:23,697 Sounded like a helicopter to start with, and then when we're down the chasm, 1757 01:17:23,697 --> 01:17:25,620 it got really sort of like-- 1758 01:17:25,620 --> 01:17:27,380 AUDIENCE: [INAUDIBLE] heartbeat, kind of. 1759 01:17:27,380 --> 01:17:28,588 IAN SEXTON: Yeah, yeah, yeah. 1760 01:17:28,588 --> 01:17:30,612 There's some sort of repetition, right? 1761 01:17:30,612 --> 01:17:31,570 What else did you hear? 1762 01:17:31,570 --> 01:17:34,198 1763 01:17:34,198 --> 01:17:37,240 DAN COFFEY: If you think about the categories you had earlier, the music. 1764 01:17:37,240 --> 01:17:39,130 How about the ambience and atmosphere? 1765 01:17:39,130 --> 01:17:41,550 What's kind of sounds do we hear for that category? 1766 01:17:41,550 --> 01:17:46,328 AUDIENCE: When the mountain crashed, the ladder, ropes clanking. 1767 01:17:46,328 --> 01:17:48,620 Everything that was supposed to, everything we thought, 1768 01:17:48,620 --> 01:17:51,522 had a noise this time, which definitely made it feel real. 1769 01:17:51,522 --> 01:17:52,230 DAN COFFEY: Yeah. 1770 01:17:52,230 --> 01:17:55,840 The wind, the snow kind of swishing, footsteps. 1771 01:17:55,840 --> 01:17:56,620 IAN SEXTON: Yeah. 1772 01:17:56,620 --> 01:17:57,953 And that's a good way to say it. 1773 01:17:57,953 --> 01:18:02,250 Everything that we saw on screen had audio associated with it. 1774 01:18:02,250 --> 01:18:05,447 AUDIENCE: I would have never noticed the volume shift between characters 1775 01:18:05,447 --> 01:18:07,780 with who's closest to the screen and who's further away. 1776 01:18:07,780 --> 01:18:11,752 When he was hugging the ladder and he was close to the camera, he was louder. 1777 01:18:11,752 --> 01:18:14,460 And the guy who was on top of the ladder [INAUDIBLE] was quieter, 1778 01:18:14,460 --> 01:18:15,840 I was like, I get it. 1779 01:18:15,840 --> 01:18:16,990 It makes so much sense. 1780 01:18:16,990 --> 01:18:18,570 Things I'd never pay attention to. 1781 01:18:18,570 --> 01:18:18,970 IAN SEXTON: Right. 1782 01:18:18,970 --> 01:18:19,470 Right. 1783 01:18:19,470 --> 01:18:23,890 So again, playing with our understanding of proximity based off of loudness. 1784 01:18:23,890 --> 01:18:26,170 As we perceive the world, things that are quieter 1785 01:18:26,170 --> 01:18:29,380 tend to be further away than things that are noisier if they're 1786 01:18:29,380 --> 01:18:33,140 of the sort of same approximate volume. 1787 01:18:33,140 --> 01:18:33,640 Right. 1788 01:18:33,640 --> 01:18:35,510 So everything that is on screen. 1789 01:18:35,510 --> 01:18:36,880 But so it's sort of wild. 1790 01:18:36,880 --> 01:18:39,010 How did they do this? 1791 01:18:39,010 --> 01:18:40,910 And what do they use to make these sounds? 1792 01:18:40,910 --> 01:18:42,340 It's sort of-- 1793 01:18:42,340 --> 01:18:45,070 I don't know how I would approach this. 1794 01:18:45,070 --> 01:18:46,660 I would need the sound of a carabiner. 1795 01:18:46,660 --> 01:18:50,140 In my mind, when I watch these films, I just sort of assume 1796 01:18:50,140 --> 01:18:52,990 that this audio was recorded on location. 1797 01:18:52,990 --> 01:18:55,330 This is actually unfolding in front of me. 1798 01:18:55,330 --> 01:18:59,920 But in reality, there is this sort of entire process 1799 01:18:59,920 --> 01:19:03,970 that happens behind the scenes, which is this idea of sound design, 1800 01:19:03,970 --> 01:19:10,000 but also of Foley artists, who are responsible for being able to record 1801 01:19:10,000 --> 01:19:13,750 sounds and then substitute them in. 1802 01:19:13,750 --> 01:19:17,860 So the sound of wind at the top of this mountain, probably someone 1803 01:19:17,860 --> 01:19:20,742 didn't climb up to the top of the mountain to record that. 1804 01:19:20,742 --> 01:19:21,950 AUDIENCE: It's too expensive. 1805 01:19:21,950 --> 01:19:22,260 IAN SEXTON: Yeah. 1806 01:19:22,260 --> 01:19:24,600 And probably dangerous and maybe not all that fun except 1807 01:19:24,600 --> 01:19:27,460 if you're really into it, and probably really hard. 1808 01:19:27,460 --> 01:19:32,710 But someone figured out an allegory to that sound. 1809 01:19:32,710 --> 01:19:35,500 And they recorded that, and they're able to use that 1810 01:19:35,500 --> 01:19:38,860 in with the visuals to give us that perception 1811 01:19:38,860 --> 01:19:44,620 that that is that sound of that visual. 1812 01:19:44,620 --> 01:19:53,020 So I believe-- so this is a Foley stage. 1813 01:19:53,020 --> 01:19:58,240 And on this stage, you can see it's just filled seemingly with junk. 1814 01:19:58,240 --> 01:20:01,030 It's like hoarder's garage, right? 1815 01:20:01,030 --> 01:20:05,560 But all of these objects in here have different purposes 1816 01:20:05,560 --> 01:20:07,580 and make different sounds. 1817 01:20:07,580 --> 01:20:12,190 They have different types of material in these square bins on the ground 1818 01:20:12,190 --> 01:20:15,410 that they can walk on to make different sounds and different effects. 1819 01:20:15,410 --> 01:20:19,270 So a few resources that are available to you online. 1820 01:20:19,270 --> 01:20:21,240 These links are posted in the slides. 1821 01:20:21,240 --> 01:20:23,698 Freesound.org is an old favorite of mine. 1822 01:20:23,698 --> 01:20:25,990 You can go and get all kinds of different sound effects 1823 01:20:25,990 --> 01:20:29,050 that you can begin to layer and experiment with. 1824 01:20:29,050 --> 01:20:29,860 All right? 1825 01:20:29,860 --> 01:20:32,800 And I think for the last part of class, what I'd like to do 1826 01:20:32,800 --> 01:20:37,418 is maybe do a quick demo in Shotcut. 1827 01:20:37,418 --> 01:20:39,460 Do you want to demo the recording software first? 1828 01:20:39,460 --> 01:20:42,260 And then maybe if we are-- 1829 01:20:42,260 --> 01:20:44,530 DAN COFFEY: I feel like this will be pretty relevant. 1830 01:20:44,530 --> 01:20:45,238 IAN SEXTON: Yeah. 1831 01:20:45,238 --> 01:20:46,320 Let's do that. 1832 01:20:46,320 --> 01:20:47,403 Actually, if you do that-- 1833 01:20:47,403 --> 01:20:51,190 1834 01:20:51,190 --> 01:20:53,560 DAN COFFEY: Open it up here. 1835 01:20:53,560 --> 01:20:57,070 So what I'm going to do is demo the app that Ian had up earlier. 1836 01:20:57,070 --> 01:20:57,820 What is it called? 1837 01:20:57,820 --> 01:21:00,400 Sound-- there we go. 1838 01:21:00,400 --> 01:21:01,698 Voice Recorder Pro. 1839 01:21:01,698 --> 01:21:02,990 IAN SEXTON: Voice Recorder Pro. 1840 01:21:02,990 --> 01:21:03,907 DAN COFFEY: All right. 1841 01:21:03,907 --> 01:21:08,290 So this may come in handy in the future. 1842 01:21:08,290 --> 01:21:12,663 But as Ian said, as you go out and try to record sound, 1843 01:21:12,663 --> 01:21:14,830 one thing you typically have with you is your phone. 1844 01:21:14,830 --> 01:21:18,327 And as we learned earlier, proximity is one of the biggest influences as far 1845 01:21:18,327 --> 01:21:19,660 as recording high quality audio. 1846 01:21:19,660 --> 01:21:22,990 So if you have an option to have your camera in the back of the room 1847 01:21:22,990 --> 01:21:26,292 to capture, let's say, an event or this lecture or whatever, 1848 01:21:26,292 --> 01:21:28,000 and you don't have a microphone with you, 1849 01:21:28,000 --> 01:21:31,030 you could take your phone out, put it up near the speaker, and hit record. 1850 01:21:31,030 --> 01:21:32,260 And you'd have much better sound than you 1851 01:21:32,260 --> 01:21:34,630 would from a microphone in the back of the room. 1852 01:21:34,630 --> 01:21:39,190 Similarly, if you wanted to record sound effects for an assignment or anything 1853 01:21:39,190 --> 01:21:42,190 else that might come your way, you might want more control 1854 01:21:42,190 --> 01:21:46,120 than just whatever your phone's built in recording app has. 1855 01:21:46,120 --> 01:21:50,200 So I thought I would just demo what this app looks like. 1856 01:21:50,200 --> 01:21:52,330 So I've just opened the main screen here. 1857 01:21:52,330 --> 01:21:56,210 And if I just hit the Record button, we get a bunch of options that come up. 1858 01:21:56,210 --> 01:21:59,560 And so as we learned earlier, there are different recording formats 1859 01:21:59,560 --> 01:22:01,060 we can choose from. 1860 01:22:01,060 --> 01:22:02,960 MP3 was an option. 1861 01:22:02,960 --> 01:22:04,360 AAC was an option. 1862 01:22:04,360 --> 01:22:09,110 Does anybody remember what a lossless format was? 1863 01:22:09,110 --> 01:22:10,094 AUDIENCE: WMA. 1864 01:22:10,094 --> 01:22:11,400 DAN COFFEY: WMA? 1865 01:22:11,400 --> 01:22:12,680 AUDIENCE: Or WAV. 1866 01:22:12,680 --> 01:22:13,360 DAN COFFEY: WAV. 1867 01:22:13,360 --> 01:22:13,860 Yeah. 1868 01:22:13,860 --> 01:22:14,795 A good, old WAV file. 1869 01:22:14,795 --> 01:22:15,670 The classic WAV file. 1870 01:22:15,670 --> 01:22:17,070 So I'm going to pick that. 1871 01:22:17,070 --> 01:22:18,070 How about a sample rate? 1872 01:22:18,070 --> 01:22:20,620 What should we set our settings to? 1873 01:22:20,620 --> 01:22:22,960 We can go pretty low here, 24,000. 1874 01:22:22,960 --> 01:22:24,580 We can also go pretty high. 1875 01:22:24,580 --> 01:22:27,340 Does anybody remember what the typical pro video-- 1876 01:22:27,340 --> 01:22:28,780 AUDIENCE: 48,000. 1877 01:22:28,780 --> 01:22:33,250 DAN COFFEY: 48,000 samples per second. 1878 01:22:33,250 --> 01:22:35,398 Bit depth? 1879 01:22:35,398 --> 01:22:36,370 AUDIENCE: 24 is fine. 1880 01:22:36,370 --> 01:22:37,517 16 is less. 1881 01:22:37,517 --> 01:22:38,350 DAN COFFEY: Exactly. 1882 01:22:38,350 --> 01:22:38,850 Yeah. 1883 01:22:38,850 --> 01:22:43,495 I mean, it's kind of like how much do we want to reproduce that sound wave? 1884 01:22:43,495 --> 01:22:44,620 How close do we want to be? 1885 01:22:44,620 --> 01:22:46,640 And the trade of being space. 1886 01:22:46,640 --> 01:22:49,523 So if I have a phone that's got gigabytes and gigabytes of space, 1887 01:22:49,523 --> 01:22:52,690 maybe I'll turn this up if I really care about the quality of the recording. 1888 01:22:52,690 --> 01:22:54,482 But a good ballpark place to start is going 1889 01:22:54,482 --> 01:22:58,690 to be our 24 bits at 48,000 samples per second. 1890 01:22:58,690 --> 01:22:59,320 Audio channel. 1891 01:22:59,320 --> 01:23:00,610 We can do mono or stereo. 1892 01:23:00,610 --> 01:23:01,450 We didn't really cover that. 1893 01:23:01,450 --> 01:23:04,810 That has to do with how it plays back in the channel layout for the given audio 1894 01:23:04,810 --> 01:23:05,310 track. 1895 01:23:05,310 --> 01:23:09,670 But most microphones with a single element are mono sources. 1896 01:23:09,670 --> 01:23:13,300 So I'm just going to choose mono here. 1897 01:23:13,300 --> 01:23:15,820 It gives me a file size estimate right below that. 1898 01:23:15,820 --> 01:23:18,350 It's got some fanciness with some silence detection, 1899 01:23:18,350 --> 01:23:19,892 which we're not going to worry about. 1900 01:23:19,892 --> 01:23:22,720 I'm not going to bother with a sound category. 1901 01:23:22,720 --> 01:23:26,025 But what I can do, up here at the very top, there's this kind of bar chart 1902 01:23:26,025 --> 01:23:26,650 that climbs up. 1903 01:23:26,650 --> 01:23:30,410 I'm going to click on that, and that's going to pop up our VU meter here. 1904 01:23:30,410 --> 01:23:32,410 And if I just tap this, it cycles through. 1905 01:23:32,410 --> 01:23:36,520 Here's a wave form representation in real time of me talking. 1906 01:23:36,520 --> 01:23:39,170 Here is an actual key check. 1907 01:23:39,170 --> 01:23:43,150 So if I sang you a song, you could see how off I am with my pitch. 1908 01:23:43,150 --> 01:23:46,830 Here's a old school analog VU meter. 1909 01:23:46,830 --> 01:23:49,330 And I'm going to just leave it on this digital version here. 1910 01:23:49,330 --> 01:23:52,550 And so I can now take my input gain knob-- 1911 01:23:52,550 --> 01:23:54,490 if I slide it back and forth here. 1912 01:23:54,490 --> 01:23:59,470 And so unity, which is the kind of point that there's no amplification being 1913 01:23:59,470 --> 01:24:02,700 added or subtracted, is in the middle. 1914 01:24:02,700 --> 01:24:07,900 And if I lower down the signal, it is subtracting amplification. 1915 01:24:07,900 --> 01:24:09,790 And if I go above, it's adding amplification. 1916 01:24:09,790 --> 01:24:13,900 And you can see I'm now getting up in the red levels of my VU meter here. 1917 01:24:13,900 --> 01:24:15,520 IAN SEXTON: So what are the problems? 1918 01:24:15,520 --> 01:24:18,400 If he drops the input gain down, what is likely 1919 01:24:18,400 --> 01:24:23,060 going to happen to our audio file when we get all the way back to playback? 1920 01:24:23,060 --> 01:24:25,940 AUDIENCE: The noise floor is going to be right in the regular audio. 1921 01:24:25,940 --> 01:24:27,860 So when it boosts it, it's going to suck. 1922 01:24:27,860 --> 01:24:28,300 IAN SEXTON: Yeah. 1923 01:24:28,300 --> 01:24:28,600 Right? 1924 01:24:28,600 --> 01:24:30,940 So it's recording depressed down near the noise floor. 1925 01:24:30,940 --> 01:24:33,320 And then when we boost it up to play it back, 1926 01:24:33,320 --> 01:24:35,860 it's going to have a lot of noise in it. 1927 01:24:35,860 --> 01:24:39,070 Conversely, when we go the other way, what's going to happen to it? 1928 01:24:39,070 --> 01:24:40,480 AUDIENCE: You going to lose data. 1929 01:24:40,480 --> 01:24:40,660 IAN SEXTON: Right. 1930 01:24:40,660 --> 01:24:42,610 We're going to lose data, it's going to over modulate, 1931 01:24:42,610 --> 01:24:45,250 and it's going to be sort of corrupted and awful sounding. 1932 01:24:45,250 --> 01:24:46,090 DAN COFFEY: Yeah. 1933 01:24:46,090 --> 01:24:50,620 But this is-- hands down, I'm leagues ahead of the built in voice recorder 1934 01:24:50,620 --> 01:24:54,280 because that's going to apply some automatic gating and automatic gain 1935 01:24:54,280 --> 01:24:57,100 just to get a reasonable level. 1936 01:24:57,100 --> 01:24:59,680 Whereas here, that's not being overridden for me. 1937 01:24:59,680 --> 01:25:03,177 So the benefit is that I now can kind of choose what the level is, 1938 01:25:03,177 --> 01:25:04,510 and it's not going to fluctuate. 1939 01:25:04,510 --> 01:25:07,180 We're not going to hear that noise floor kind of automatically raise up and get 1940 01:25:07,180 --> 01:25:07,870 crunched down. 1941 01:25:07,870 --> 01:25:09,820 So one benefit to this. 1942 01:25:09,820 --> 01:25:13,270 My phone has multiple microphones in it. 1943 01:25:13,270 --> 01:25:16,638 With the connector to put it on the TV, I can actually choose between them. 1944 01:25:16,638 --> 01:25:18,430 But if your phone has multiple microphones, 1945 01:25:18,430 --> 01:25:20,172 you can choose which one you want to use. 1946 01:25:20,172 --> 01:25:21,880 I would stick with the bottom microphone. 1947 01:25:21,880 --> 01:25:22,713 Here's the position. 1948 01:25:22,713 --> 01:25:23,620 I'm sorry. 1949 01:25:23,620 --> 01:25:27,550 So I have bottom front or back on this phone. 1950 01:25:27,550 --> 01:25:30,092 And if I have an external device with a microphone on it, 1951 01:25:30,092 --> 01:25:33,050 for even higher quality recording, I could choose that from the source. 1952 01:25:33,050 --> 01:25:36,440 But right now, I don't have an additional microphone plugged in. 1953 01:25:36,440 --> 01:25:37,570 And then audio monitor. 1954 01:25:37,570 --> 01:25:40,450 If I'm wearing headphones, I could use headphones. 1955 01:25:40,450 --> 01:25:42,420 In this case, I'm plugged into an HDMI cable. 1956 01:25:42,420 --> 01:25:43,960 So the option is HDMI cable. 1957 01:25:43,960 --> 01:25:46,270 But we talked about audio monitoring. 1958 01:25:46,270 --> 01:25:49,240 This is where you would choose how to listen to your audio playback. 1959 01:25:49,240 --> 01:25:50,200 IAN SEXTON: It's one thing I didn't research 1960 01:25:50,200 --> 01:25:52,230 that I think it might be interesting to look 1961 01:25:52,230 --> 01:25:54,810 at what sort of microphones you could attach to this 1962 01:25:54,810 --> 01:25:56,040 and use this as a recorder. 1963 01:25:56,040 --> 01:25:56,390 DAN COFFEY: Yeah. 1964 01:25:56,390 --> 01:25:58,210 IAN SEXTON: That'd be sort of interesting to look at the market 1965 01:25:58,210 --> 01:25:59,040 if there's some interesting things. 1966 01:25:59,040 --> 01:25:59,180 Yeah? 1967 01:25:59,180 --> 01:26:02,010 AUDIENCE: I know there's definitely lavs that you can plug [INAUDIBLE] 1968 01:26:02,010 --> 01:26:02,220 IAN SEXTON: Yeah. 1969 01:26:02,220 --> 01:26:05,290 That's sort of-- I didn't do any research on that today before class. 1970 01:26:05,290 --> 01:26:07,890 AUDIENCE: I've actually got a really good little zoom 1971 01:26:07,890 --> 01:26:10,670 one that plugs into my phone. 1972 01:26:10,670 --> 01:26:13,620 And the reason I mention it, the only thing that I found 1973 01:26:13,620 --> 01:26:17,580 is if you use one of those, you have to put your phone in airplane mode 1974 01:26:17,580 --> 01:26:22,670 because the transmitter functions transmit noise. 1975 01:26:22,670 --> 01:26:24,420 The noise you hear ends up coming through. 1976 01:26:24,420 --> 01:26:27,090 So if you're recording with your phone on an external, 1977 01:26:27,090 --> 01:26:28,830 it's got to be in airplane mode. 1978 01:26:28,830 --> 01:26:29,070 IAN SEXTON: Yeah. 1979 01:26:29,070 --> 01:26:30,680 Or if it vibrates or something like that, 1980 01:26:30,680 --> 01:26:32,240 it'll all come through in your audio recording. 1981 01:26:32,240 --> 01:26:32,560 Yeah. 1982 01:26:32,560 --> 01:26:33,290 DAN COFFEY: That's really interesting. 1983 01:26:33,290 --> 01:26:35,612 But almost definitely, the built in microphones 1984 01:26:35,612 --> 01:26:37,320 are getting better and better these days. 1985 01:26:37,320 --> 01:26:40,740 But any bigger element microphone you can put onto your phone 1986 01:26:40,740 --> 01:26:43,630 is certainly going to sound better. 1987 01:26:43,630 --> 01:26:44,130 All right. 1988 01:26:44,130 --> 01:26:47,020 And so I'm going to set my levels here and bring it down a little bit. 1989 01:26:47,020 --> 01:26:47,687 Check, one, two. 1990 01:26:47,687 --> 01:26:48,480 Check, one, two. 1991 01:26:48,480 --> 01:26:51,595 So I'm a little bit hotter than the negative 12. 1992 01:26:51,595 --> 01:26:53,610 I might bring this down a little bit. 1993 01:26:53,610 --> 01:26:56,610 But maybe if I'm recording a sound effect, I want to kind of juice level 1994 01:26:56,610 --> 01:26:57,277 up a little bit. 1995 01:26:57,277 --> 01:27:02,143 I can see that I'm applying negative gain from my [INAUDIBLE] position here. 1996 01:27:02,143 --> 01:27:03,810 So we'll set, say the level's good here. 1997 01:27:03,810 --> 01:27:06,580 I'm not getting up to 0. 1998 01:27:06,580 --> 01:27:07,080 All right. 1999 01:27:07,080 --> 01:27:10,030 So if I want to record now, I hit Check. 2000 01:27:10,030 --> 01:27:11,280 Brings me back to my settings. 2001 01:27:11,280 --> 01:27:12,550 This all looks good. 2002 01:27:12,550 --> 01:27:14,500 And then I hit the Record button. 2003 01:27:14,500 --> 01:27:15,210 Check, one, two. 2004 01:27:15,210 --> 01:27:17,940 It brings that level back, but it no longer says Level Check. 2005 01:27:17,940 --> 01:27:19,620 I can see the levels bouncing. 2006 01:27:19,620 --> 01:27:20,512 Check, one, two. 2007 01:27:20,512 --> 01:27:21,600 Check, check, check. 2008 01:27:21,600 --> 01:27:26,293 And then if I stop that, it processes it for a second, and I can just hit play. 2009 01:27:26,293 --> 01:27:27,960 DAN COFFEY [RECORDING]: Check, one, two. 2010 01:27:27,960 --> 01:27:30,690 It brings that level back, but it no longer says Level Check. 2011 01:27:30,690 --> 01:27:32,400 I can see the levels bouncing. 2012 01:27:32,400 --> 01:27:33,260 Check, one, two. 2013 01:27:33,260 --> 01:27:34,140 Check, check. 2014 01:27:34,140 --> 01:27:34,380 DAN COFFEY: Right? 2015 01:27:34,380 --> 01:27:35,250 That sounds pretty clean. 2016 01:27:35,250 --> 01:27:37,042 And I know I'm using the bottom microphone. 2017 01:27:37,042 --> 01:27:39,690 So if I was going to mic up Ian, I would hold the phone kind 2018 01:27:39,690 --> 01:27:41,790 of up to his face with the microphone pointing in his direction, 2019 01:27:41,790 --> 01:27:43,950 because as we saw, direction matters unless you 2020 01:27:43,950 --> 01:27:45,540 have an omnidirectional element. 2021 01:27:45,540 --> 01:27:48,040 And I don't actually know what the element is in this phone. 2022 01:27:48,040 --> 01:27:49,880 IAN SEXTON: No. 2023 01:27:49,880 --> 01:27:52,050 It's small enough that it might be directional. 2024 01:27:52,050 --> 01:27:53,460 DAN COFFEY: And you can see there's a wealth of options 2025 01:27:53,460 --> 01:27:55,980 here as far as how to get the file off of the phone. 2026 01:27:55,980 --> 01:27:57,210 You can save it to Dropbox. 2027 01:27:57,210 --> 01:27:58,710 You can email it to yourself. 2028 01:27:58,710 --> 01:27:59,650 Send it by SMS. 2029 01:27:59,650 --> 01:28:02,580 So many options to actually dump the files. 2030 01:28:02,580 --> 01:28:05,550 But this app is free by default. You can pay to turn off the ads 2031 01:28:05,550 --> 01:28:07,560 and probably get some more advanced features. 2032 01:28:07,560 --> 01:28:09,900 But if you're looking for an app to get started with, 2033 01:28:09,900 --> 01:28:12,800 we would recommend though the one from Ian's slide. 2034 01:28:12,800 --> 01:28:14,123 So take a look back. 2035 01:28:14,123 --> 01:28:16,540 Anything else we should demo with this while we've got it? 2036 01:28:16,540 --> 01:28:16,650 IAN SEXTON: No. 2037 01:28:16,650 --> 01:28:17,760 I think that's it. 2038 01:28:17,760 --> 01:28:21,432 It's sort of fun to experiment with. 2039 01:28:21,432 --> 01:28:22,140 DAN COFFEY: Yeah. 2040 01:28:22,140 --> 01:28:23,820 If I go back, I can rename it. 2041 01:28:23,820 --> 01:28:25,320 It tells me it's a [? WAV ?] format. 2042 01:28:25,320 --> 01:28:28,890 You can probably attach a photo to give you an idea of what it was. 2043 01:28:28,890 --> 01:28:32,742 So I'll take a picture of me here. 2044 01:28:32,742 --> 01:28:33,630 AUDIENCE: [LAUGHTER] 2045 01:28:33,630 --> 01:28:35,010 DAN COFFEY: And I can use that. 2046 01:28:35,010 --> 01:28:38,273 And now I remember exactly what file this was. 2047 01:28:38,273 --> 01:28:39,690 The one I recorded during lecture. 2048 01:28:39,690 --> 01:28:40,620 IAN SEXTON: [LAUGHS] Wow. 2049 01:28:40,620 --> 01:28:41,760 That's actually sort of handy, right? 2050 01:28:41,760 --> 01:28:42,110 DAN COFFEY: Yeah. 2051 01:28:42,110 --> 01:28:42,620 Well, if you're-- 2052 01:28:42,620 --> 01:28:43,600 IAN SEXTON: --record a different object that you're-- 2053 01:28:43,600 --> 01:28:43,920 DAN COFFEY: Yeah. 2054 01:28:43,920 --> 01:28:46,087 Let's say you're recording a wealth of sound effects 2055 01:28:46,087 --> 01:28:49,050 for an assignment or something else that might come your way. 2056 01:28:49,050 --> 01:28:51,550 Might be handy to remember what was what. 2057 01:28:51,550 --> 01:28:52,940 AUDIENCE: Very nice. 2058 01:28:52,940 --> 01:28:54,210 IAN SEXTON: All right. 2059 01:28:54,210 --> 01:29:01,140 So I'm going to take just a few minutes here and dive in to Shotcut 2060 01:29:01,140 --> 01:29:02,760 with our remaining time. 2061 01:29:02,760 --> 01:29:08,820 So what we're going to do today or in this moment 2062 01:29:08,820 --> 01:29:11,040 is we're going to actually-- 2063 01:29:11,040 --> 01:29:17,340 let me find-- we are going to do a little bit of sound design on this clip 2064 01:29:17,340 --> 01:29:18,900 here. 2065 01:29:18,900 --> 01:29:22,809 So there's no audio associated with this clip. 2066 01:29:22,809 --> 01:29:24,086 AUDIENCE: Is that Sculley? 2067 01:29:24,086 --> 01:29:25,461 IAN SEXTON: It was Sculley, yeah. 2068 01:29:25,461 --> 01:29:26,827 [LAUGHTER] 2069 01:29:26,827 --> 01:29:27,840 That's a good pick up. 2070 01:29:27,840 --> 01:29:30,990 2071 01:29:30,990 --> 01:29:31,790 OK. 2072 01:29:31,790 --> 01:29:34,670 And we're going to build our bit of sound design for this clip. 2073 01:29:34,670 --> 01:29:39,317 We only have a few minutes left, so it's going to be a little bit rough. 2074 01:29:39,317 --> 01:29:41,900 But if we play this again, and let's sort of look through this 2075 01:29:41,900 --> 01:29:45,110 and identify what are the sounds that might be in this space. 2076 01:29:45,110 --> 01:29:45,620 All right. 2077 01:29:45,620 --> 01:29:47,175 There's Sculley with a computer. 2078 01:29:47,175 --> 01:29:47,800 She was typing. 2079 01:29:47,800 --> 01:29:48,650 She closes it. 2080 01:29:48,650 --> 01:29:50,030 Aaron walks by with some papers. 2081 01:29:50,030 --> 01:29:50,850 There's a phone. 2082 01:29:50,850 --> 01:29:52,310 It gets hung up. 2083 01:29:52,310 --> 01:29:53,810 There's some paper that gets pushed. 2084 01:29:53,810 --> 01:29:55,190 The door opens. 2085 01:29:55,190 --> 01:29:57,020 A door closes. 2086 01:29:57,020 --> 01:29:58,160 AUDIENCE: Rustling papers. 2087 01:29:58,160 --> 01:29:59,300 IAN SEXTON: Some rustling papers. 2088 01:29:59,300 --> 01:29:59,860 Right. 2089 01:29:59,860 --> 01:30:03,130 Someone is walking, so there's some kind of footsteps, et cetera. 2090 01:30:03,130 --> 01:30:04,630 AUDIENCE: [INAUDIBLE] 2091 01:30:04,630 --> 01:30:05,480 IAN SEXTON: Exactly. 2092 01:30:05,480 --> 01:30:08,060 So let's quickly do this. 2093 01:30:08,060 --> 01:30:11,180 We're going to add a video track. 2094 01:30:11,180 --> 01:30:13,770 And I can drop this in here. 2095 01:30:13,770 --> 01:30:18,680 So now on our timeline, we have this video track. 2096 01:30:18,680 --> 01:30:20,740 We could scrub through it if we want to. 2097 01:30:20,740 --> 01:30:24,415 And so let's identify a couple of things that we want to deal with first. 2098 01:30:24,415 --> 01:30:26,540 So in my mind, I think the first thing I want to do 2099 01:30:26,540 --> 01:30:33,910 is identify the very particular sounds of the scene and work towards those. 2100 01:30:33,910 --> 01:30:37,160 So I want to record the door closing. 2101 01:30:37,160 --> 01:30:39,360 That's a very specific moment in time. 2102 01:30:39,360 --> 01:30:41,090 It's a very specific sound. 2103 01:30:41,090 --> 01:30:42,920 And so I'm going to focus on those elements 2104 01:30:42,920 --> 01:30:46,610 before I get into the overall ambience of the space. 2105 01:30:46,610 --> 01:30:51,860 So aligning your sound elements sort of first to specific items 2106 01:30:51,860 --> 01:30:53,690 is maybe a good way to work through it so 2107 01:30:53,690 --> 01:30:56,630 that you're not distracted by other elements 2108 01:30:56,630 --> 01:30:59,960 and you can sort of hone in and focus on everything. 2109 01:30:59,960 --> 01:31:04,850 So if we come out and we look at the door closing, 2110 01:31:04,850 --> 01:31:08,250 and we can scrub through this with the left right arrow keys. 2111 01:31:08,250 --> 01:31:14,480 So right here, at 16, it looks like 16 seconds, the door closes. 2112 01:31:14,480 --> 01:31:15,290 OK? 2113 01:31:15,290 --> 01:31:22,670 So first things first, I have over here a "household door close." 2114 01:31:22,670 --> 01:31:24,324 Let's listen to this. 2115 01:31:24,324 --> 01:31:25,110 [DOOR SHUTS] 2116 01:31:25,110 --> 01:31:25,610 OK. 2117 01:31:25,610 --> 01:31:29,400 So there's a sound of a door closing. 2118 01:31:29,400 --> 01:31:30,020 OK. 2119 01:31:30,020 --> 01:31:31,220 [DOOR SLAMS] 2120 01:31:31,220 --> 01:31:34,490 But there's the sound of that, which is sort of a louder slam, right? 2121 01:31:34,490 --> 01:31:37,160 So I think what I want to do is I'm going to take that sound, 2122 01:31:37,160 --> 01:31:39,050 and we'll use that, because it sounds like he sort of shoves 2123 01:31:39,050 --> 01:31:41,180 that paper saying that-- and maybe he's closing the door a little bit 2124 01:31:41,180 --> 01:31:42,290 aggressively, right? 2125 01:31:42,290 --> 01:31:44,050 So I quickly add an audio track. 2126 01:31:44,050 --> 01:31:44,990 OK. 2127 01:31:44,990 --> 01:31:49,160 And I'm going to append to the current track. 2128 01:31:49,160 --> 01:31:52,140 Now I want to overwrite the clip onto the-- 2129 01:31:52,140 --> 01:31:52,640 oops. 2130 01:31:52,640 --> 01:31:53,780 Wrong track. 2131 01:31:53,780 --> 01:31:55,220 Under that. 2132 01:31:55,220 --> 01:31:57,810 This one here. 2133 01:31:57,810 --> 01:31:58,310 OK. 2134 01:31:58,310 --> 01:32:01,040 So we add that track in, or that clip in. 2135 01:32:01,040 --> 01:32:02,560 So now as we watch this-- 2136 01:32:02,560 --> 01:32:03,060 [DOOR SLAMS] 2137 01:32:03,060 --> 01:32:04,160 Oh, we're late. 2138 01:32:04,160 --> 01:32:05,490 We're way late, right? 2139 01:32:05,490 --> 01:32:05,990 OK. 2140 01:32:05,990 --> 01:32:06,740 So we can do this. 2141 01:32:06,740 --> 01:32:11,090 2142 01:32:11,090 --> 01:32:14,195 So let's find the point where we want this where the door actually closes. 2143 01:32:14,195 --> 01:32:16,840 2144 01:32:16,840 --> 01:32:19,238 So that's probably right here. 2145 01:32:19,238 --> 01:32:27,721 2146 01:32:27,721 --> 01:32:28,730 [DOOR SLAMS] 2147 01:32:28,730 --> 01:32:29,360 OK. 2148 01:32:29,360 --> 01:32:30,410 So roughed in there. 2149 01:32:30,410 --> 01:32:32,600 We probably could move that a frame or two, 2150 01:32:32,600 --> 01:32:35,350 but we'll call that good just to sort of keep moving a little bit, 2151 01:32:35,350 --> 01:32:37,760 try to build up some soundscape. 2152 01:32:37,760 --> 01:32:39,330 So we'll add another audio track. 2153 01:32:39,330 --> 01:32:41,080 And I think one of the other things that I 2154 01:32:41,080 --> 01:32:45,327 saw that happened was the hanging up of this telephone here. 2155 01:32:45,327 --> 01:32:47,910 So this gentleman the background hangs up a phone right there. 2156 01:32:47,910 --> 01:32:52,670 So we can sort of scrub back here, find it. 2157 01:32:52,670 --> 01:32:56,430 We'll select this audio track so that-- 2158 01:32:56,430 --> 01:32:56,930 all right. 2159 01:32:56,930 --> 01:33:04,340 And then in here, of some sounds that we have found, we have a "phone set down, 2160 01:33:04,340 --> 01:33:04,880 rotary." 2161 01:33:04,880 --> 01:33:06,480 [CLATTERING] 2162 01:33:06,480 --> 01:33:07,205 OK. 2163 01:33:07,205 --> 01:33:08,600 [TYPING SOUND] 2164 01:33:08,600 --> 01:33:10,370 So it's really interesting. 2165 01:33:10,370 --> 01:33:12,500 The resources that I posted on the slide earlier 2166 01:33:12,500 --> 01:33:16,342 with the freesound.org and a lot of the other resources 2167 01:33:16,342 --> 01:33:19,050 have lots of sounds that are available that people have recorded. 2168 01:33:19,050 --> 01:33:21,590 There's a whole contingent of people that 2169 01:33:21,590 --> 01:33:27,170 really love to record sounds and release them for use in projects like this. 2170 01:33:27,170 --> 01:33:34,130 So you can find all kinds of different sounds available to you. 2171 01:33:34,130 --> 01:33:38,030 The fact that someone has defined this as a rotary phone being hung up-- 2172 01:33:38,030 --> 01:33:41,390 so someone else has probably done a wall phone. 2173 01:33:41,390 --> 01:33:43,520 So you can get very, very specific. 2174 01:33:43,520 --> 01:33:46,090 But if we overwrite this one in here. 2175 01:33:46,090 --> 01:33:48,841 And let's sort of watch this and see if we got the timing right. 2176 01:33:48,841 --> 01:33:49,424 [TYPING SOUND] 2177 01:33:49,424 --> 01:33:50,408 No, we're late again. 2178 01:33:50,408 --> 01:33:55,328 [LAUGHS] 2179 01:33:55,328 --> 01:33:57,300 [TYPING SOUND] 2180 01:33:57,300 --> 01:33:57,810 OK. 2181 01:33:57,810 --> 01:33:58,470 That's maybe-- 2182 01:33:58,470 --> 01:34:00,053 AUDIENCE: That sounds like a keyboard. 2183 01:34:00,053 --> 01:34:01,845 IAN SEXTON: Oh, is that the keyboard sound? 2184 01:34:01,845 --> 01:34:03,430 AUDIENCE: It sounds like a keyboard. 2185 01:34:03,430 --> 01:34:05,430 IAN SEXTON: We do have a keyboard sound in here. 2186 01:34:05,430 --> 01:34:06,680 [CLATTERING] 2187 01:34:06,680 --> 01:34:07,180 Oh, yeah. 2188 01:34:07,180 --> 01:34:07,590 You're right. 2189 01:34:07,590 --> 01:34:09,007 That was totally a keyboard sound. 2190 01:34:09,007 --> 01:34:11,760 AUDIENCE: [INAUDIBLE] 2191 01:34:11,760 --> 01:34:13,800 IAN SEXTON: All right. 2192 01:34:13,800 --> 01:34:16,090 Limitations of my ability here. 2193 01:34:16,090 --> 01:34:19,200 So let's do that, and let's do "household phones sit down," 2194 01:34:19,200 --> 01:34:22,535 and we'll write that in there. 2195 01:34:22,535 --> 01:34:23,620 [CLATTERING] 2196 01:34:23,620 --> 01:34:24,120 OK. 2197 01:34:24,120 --> 01:34:25,814 Not bad, right? 2198 01:34:25,814 --> 01:34:26,700 [CLATTERING] 2199 01:34:26,700 --> 01:34:27,750 OK. 2200 01:34:27,750 --> 01:34:30,900 And then we come through, and we've got this door slam sort of over here. 2201 01:34:30,900 --> 01:34:31,540 [DOOR SLAMS] 2202 01:34:31,540 --> 01:34:32,040 All right. 2203 01:34:32,040 --> 01:34:33,090 We're getting somewhere. 2204 01:34:33,090 --> 01:34:35,820 We're getting some stuff laid out there. 2205 01:34:35,820 --> 01:34:39,380 So let's return to the beginning. 2206 01:34:39,380 --> 01:34:41,620 Oops. 2207 01:34:41,620 --> 01:34:43,070 My short cut. 2208 01:34:43,070 --> 01:34:45,050 I got sloppy hands. 2209 01:34:45,050 --> 01:34:45,550 All right. 2210 01:34:45,550 --> 01:34:46,967 And we've got this person walking. 2211 01:34:46,967 --> 01:34:49,700 And I think we should introduce some footsteps to that. 2212 01:34:49,700 --> 01:34:53,450 So one of the things that we have in here 2213 01:34:53,450 --> 01:34:58,409 are "fully footsteps of high heels, rug carpet." 2214 01:34:58,409 --> 01:35:02,321 [MUFFLED FOOTSTEPS] 2215 01:35:02,321 --> 01:35:05,260 2216 01:35:05,260 --> 01:35:06,005 All right. 2217 01:35:06,005 --> 01:35:10,880 [LAUGHS] So I have no idea if this is timed out correctly, but we'll try it. 2218 01:35:10,880 --> 01:35:13,580 Maybe this is what it sounds like. 2219 01:35:13,580 --> 01:35:15,783 So I'll add another audio track. 2220 01:35:15,783 --> 01:35:18,950 And you'll notice what I'm doing is I'm sort of building audio track layers, 2221 01:35:18,950 --> 01:35:19,640 OK? 2222 01:35:19,640 --> 01:35:25,910 So as I go through, I'm not trying to put lots of things on the same track. 2223 01:35:25,910 --> 01:35:28,820 I probably could combine these two sharp elements 2224 01:35:28,820 --> 01:35:31,880 because they're so temporally distant. 2225 01:35:31,880 --> 01:35:35,418 But if I'm going to put the [INAUDIBLE]---- his walking, 2226 01:35:35,418 --> 01:35:38,210 I'm not going to put it on the same track as something that is sort 2227 01:35:38,210 --> 01:35:39,170 of a door closing. 2228 01:35:39,170 --> 01:35:44,750 So beginning to organize yourself almost top down is a nice way to do it. 2229 01:35:44,750 --> 01:35:49,700 I tend to sort of put my music low, and then ambience, and then specific 2230 01:35:49,700 --> 01:35:53,160 ambient soundtracks, and then getting into specific sound effects, and then 2231 01:35:53,160 --> 01:35:55,160 dialogue closer to the top because it's probably 2232 01:35:55,160 --> 01:35:56,940 what I would manipulate the most. 2233 01:35:56,940 --> 01:35:57,440 OK. 2234 01:35:57,440 --> 01:36:01,630 So let's take this, and we'll go in from the very beginning. 2235 01:36:01,630 --> 01:36:03,952 And let's put the play head right at the start. 2236 01:36:03,952 --> 01:36:04,910 Does it go any further? 2237 01:36:04,910 --> 01:36:05,860 Yeah. 2238 01:36:05,860 --> 01:36:08,660 And let's write this onto this track. 2239 01:36:08,660 --> 01:36:09,200 OK. 2240 01:36:09,200 --> 01:36:12,330 And let's watch and see what happens. 2241 01:36:12,330 --> 01:36:15,800 So he's off screen. 2242 01:36:15,800 --> 01:36:19,300 [MUFFLED FOOTSTEPS] 2243 01:36:19,300 --> 01:36:26,800 2244 01:36:26,800 --> 01:36:28,020 [CLATTERING] 2245 01:36:28,020 --> 01:36:28,520 All right. 2246 01:36:28,520 --> 01:36:29,812 And we ran out of audio, right? 2247 01:36:29,812 --> 01:36:30,980 We sort of ran out of clip. 2248 01:36:30,980 --> 01:36:31,480 [DOOR SLAMS] 2249 01:36:31,480 --> 01:36:33,752 But it's surprisingly accurate. 2250 01:36:33,752 --> 01:36:34,460 AUDIENCE: I know. 2251 01:36:34,460 --> 01:36:35,085 IAN SEXTON: OK? 2252 01:36:35,085 --> 01:36:37,882 That's sort of amazing. 2253 01:36:37,882 --> 01:36:38,840 I mean, I didn't do it. 2254 01:36:38,840 --> 01:36:40,670 DAN COFFEY: But if it wasn't, you could layer in-- 2255 01:36:40,670 --> 01:36:41,420 IAN SEXTON: Right. 2256 01:36:41,420 --> 01:36:43,850 So one of the things that we can do-- so right now, 2257 01:36:43,850 --> 01:36:47,420 we've got these steps coming in, but it's really loud. 2258 01:36:47,420 --> 01:36:49,548 It's the loudest thing in our scene. 2259 01:36:49,548 --> 01:36:51,590 So there's a couple of things that we want to do. 2260 01:36:51,590 --> 01:36:55,357 We want to now begin to play with filtering the sounds in some ways. 2261 01:36:55,357 --> 01:36:57,440 So if we come over and we sort of select our clip, 2262 01:36:57,440 --> 01:37:01,550 and we come over to the filter section here, we can come in here. 2263 01:37:01,550 --> 01:37:05,813 And maybe we search for "gain," which is the volume, 2264 01:37:05,813 --> 01:37:06,980 and we add that to our clip. 2265 01:37:06,980 --> 01:37:10,880 And now what we have is this sort of level adjustment. 2266 01:37:10,880 --> 01:37:12,770 So we can bring the level way down. 2267 01:37:12,770 --> 01:37:17,455 And when we play this you almost can't hear it, so we'll bring it back up. 2268 01:37:17,455 --> 01:37:20,640 [MUFFLED FOOTSTEPS] 2269 01:37:20,640 --> 01:37:24,620 So it's much more quiet. 2270 01:37:24,620 --> 01:37:28,160 The other thing is too if these were sort of mistimed, 2271 01:37:28,160 --> 01:37:30,380 in Shotcut, you can go into the Properties tab, 2272 01:37:30,380 --> 01:37:34,280 and you can change the speed at which it plays back. 2273 01:37:34,280 --> 01:37:36,440 So you can sort of extend the time of this. 2274 01:37:36,440 --> 01:37:41,570 There's a little trick when you start to push and pull temporally on audio, 2275 01:37:41,570 --> 01:37:42,915 they do shift in pitch. 2276 01:37:42,915 --> 01:37:44,540 So you do need to be careful with that. 2277 01:37:44,540 --> 01:37:47,960 If you move it too much, you'll change the actual sound overall. 2278 01:37:47,960 --> 01:37:52,190 It's sometimes better just to rerecord the sound as you go forward 2279 01:37:52,190 --> 01:37:55,010 to match sort of the synchronization. 2280 01:37:55,010 --> 01:37:58,370 But so to wave our hands at sort of the real nitty gritty, 2281 01:37:58,370 --> 01:38:00,120 let's sort of assume that-- 2282 01:38:00,120 --> 01:38:02,270 [MUFFLED FOOTSTEPS] 2283 01:38:02,270 --> 01:38:04,300 --we're sort of happy with the timing on this. 2284 01:38:04,300 --> 01:38:05,410 OK? 2285 01:38:05,410 --> 01:38:06,410 The audio level is good. 2286 01:38:06,410 --> 01:38:08,750 It's not too hot, but it's sort of mixing in there. 2287 01:38:08,750 --> 01:38:12,050 There's not a lot of other sounds, so it's really dominant. 2288 01:38:12,050 --> 01:38:13,850 DAN COFFEY: We're hearing it in isolation, which is tough, right? 2289 01:38:13,850 --> 01:38:13,970 IAN SEXTON: Right. 2290 01:38:13,970 --> 01:38:15,680 DAN COFFEY: As you start to mix your levels together-- 2291 01:38:15,680 --> 01:38:16,160 IAN SEXTON: Exactly. 2292 01:38:16,160 --> 01:38:18,980 So maybe as we start to layer stuff, we'll come back to this 2293 01:38:18,980 --> 01:38:21,080 and maybe raise it up or what have you. 2294 01:38:21,080 --> 01:38:25,010 But sort of when we were talking about perspective, one of the things 2295 01:38:25,010 --> 01:38:29,330 that we talked about was sounds being quieter when they're further away. 2296 01:38:29,330 --> 01:38:33,740 And so maybe what we're going to do is actually ramp his audio up 2297 01:38:33,740 --> 01:38:36,560 a little bit as he comes in the screen. 2298 01:38:36,560 --> 01:38:37,350 Right? 2299 01:38:37,350 --> 01:38:39,270 [MUFFLED FOOTSTEPS] 2300 01:38:39,270 --> 01:38:42,990 So if we go back to filters-- 2301 01:38:42,990 --> 01:38:47,220 and I'm going to do a sort of rough version of this if we can go-- 2302 01:38:47,220 --> 01:38:50,310 there's a fade in audio which we can add. 2303 01:38:50,310 --> 01:38:51,990 OK. 2304 01:38:51,990 --> 01:38:53,860 Did I add it? 2305 01:38:53,860 --> 01:38:56,700 No, I did not. 2306 01:38:56,700 --> 01:38:58,492 Fade in audio. 2307 01:38:58,492 --> 01:38:59,280 Ah! 2308 01:38:59,280 --> 01:39:01,830 I see what I'm doing. 2309 01:39:01,830 --> 01:39:04,710 Double clicking it and clicking the minus button at the same time. 2310 01:39:04,710 --> 01:39:05,922 So this has a duration. 2311 01:39:05,922 --> 01:39:08,630 It's sort of defaulting to one second, and that's fade out audio. 2312 01:39:08,630 --> 01:39:11,290 So let's-- here we go. 2313 01:39:11,290 --> 01:39:12,228 Awesome. 2314 01:39:12,228 --> 01:39:14,040 [LAUGHTER] 2315 01:39:14,040 --> 01:39:15,210 Fade in audio. 2316 01:39:15,210 --> 01:39:16,330 OK. 2317 01:39:16,330 --> 01:39:22,440 It has a duration, so let's maybe ramp this up a little bit to, 2318 01:39:22,440 --> 01:39:25,560 let's say, two seconds and see what that sounds like. 2319 01:39:25,560 --> 01:39:27,540 There's no reason not to try. 2320 01:39:27,540 --> 01:39:31,173 Sort of just the value. 2321 01:39:31,173 --> 01:39:33,358 [FOOTSTEPS FADING IN] 2322 01:39:33,358 --> 01:39:36,150 So I don't know how effective that is, but we could play with that. 2323 01:39:36,150 --> 01:39:38,990 The other thing is you-- 2324 01:39:38,990 --> 01:39:40,400 yeah, we'll see. 2325 01:39:40,400 --> 01:39:42,350 Start laying a few more sounds in here. 2326 01:39:42,350 --> 01:39:44,810 So we have basic sort of footsteps. 2327 01:39:44,810 --> 01:39:46,370 And I'm going to sort of cheat this. 2328 01:39:46,370 --> 01:39:51,062 And we can copy this, and I think we can just paste this on the end. 2329 01:39:51,062 --> 01:39:51,770 But I don't know. 2330 01:39:51,770 --> 01:39:52,815 [DISTORTED CLATTERING] 2331 01:39:52,815 --> 01:39:53,860 Ooh. 2332 01:39:53,860 --> 01:39:55,590 Scrubbing. 2333 01:39:55,590 --> 01:39:57,530 So we can add this audio in here. 2334 01:39:57,530 --> 01:40:01,200 I'm going to actually, for that one, take that fade out. 2335 01:40:01,200 --> 01:40:01,700 OK. 2336 01:40:01,700 --> 01:40:04,902 So what we've done is sort of continued our footsteps at the same pace. 2337 01:40:04,902 --> 01:40:05,402 [CLATTERING] 2338 01:40:05,402 --> 01:40:06,610 [MUFFLED FOOTSTEPS] 2339 01:40:06,610 --> 01:40:08,880 That was the phone hanging up. 2340 01:40:08,880 --> 01:40:09,673 [DOOR SLAMS] 2341 01:40:09,673 --> 01:40:11,090 And he goes into this room, right? 2342 01:40:11,090 --> 01:40:13,580 But the audio is still continuing of him walking. 2343 01:40:13,580 --> 01:40:15,580 So that's no good. 2344 01:40:15,580 --> 01:40:17,540 [DISTORTED DOOR SLAMMING] 2345 01:40:17,540 --> 01:40:25,860 So maybe when this door closes, that audio cuts out, and we're done there. 2346 01:40:25,860 --> 01:40:30,450 And maybe for this clip, when the door closes, we'll add a audio fade out. 2347 01:40:30,450 --> 01:40:33,840 2348 01:40:33,840 --> 01:40:36,880 Let's make it half a second because it's really quick. 2349 01:40:36,880 --> 01:40:37,380 All right. 2350 01:40:37,380 --> 01:40:39,310 12 frames. 2351 01:40:39,310 --> 01:40:40,631 So if we listen to this-- 2352 01:40:40,631 --> 01:40:41,613 [MUFFLED FOOTSTEPS] 2353 01:40:41,613 --> 01:40:43,580 [DOOR SLAMS] 2354 01:40:43,580 --> 01:40:44,760 OK. 2355 01:40:44,760 --> 01:40:47,370 We no longer hear him walking. 2356 01:40:47,370 --> 01:40:48,690 OK. 2357 01:40:48,690 --> 01:40:49,620 All right. 2358 01:40:49,620 --> 01:40:51,857 So we've got a character who's walking. 2359 01:40:51,857 --> 01:40:53,190 We've got a couple action items. 2360 01:40:53,190 --> 01:40:55,950 There's a door and something else. 2361 01:40:55,950 --> 01:41:00,130 But let's really quickly before we run completely out of time 2362 01:41:00,130 --> 01:41:02,130 add an audio track down here. 2363 01:41:02,130 --> 01:41:05,620 And over here, there's this sort of "ambiance, office." 2364 01:41:05,620 --> 01:41:10,080 [INDISTINCT CONVERSATIONS] 2365 01:41:10,080 --> 01:41:12,910 Just people murmuring in the background. 2366 01:41:12,910 --> 01:41:16,860 So let's go ahead and add this in and see if we can get to a place. 2367 01:41:16,860 --> 01:41:19,990 2368 01:41:19,990 --> 01:41:20,490 All right. 2369 01:41:20,490 --> 01:41:21,240 So we add this in. 2370 01:41:21,240 --> 01:41:22,692 [INDISTINCT CONVERSATIONS] 2371 01:41:22,692 --> 01:41:26,150 [MUFFLED FOOTSTEPS] 2372 01:41:26,150 --> 01:41:32,072 2373 01:41:32,072 --> 01:41:32,572 [CLATTERING] 2374 01:41:32,572 --> 01:41:33,066 All right. 2375 01:41:33,066 --> 01:41:33,733 That's way late. 2376 01:41:33,733 --> 01:41:35,042 We must have moved that. 2377 01:41:35,042 --> 01:41:40,476 2378 01:41:40,476 --> 01:41:41,958 Yeah, that's totally late. 2379 01:41:41,958 --> 01:41:48,390 2380 01:41:48,390 --> 01:41:49,640 So you can turn snap off too. 2381 01:41:49,640 --> 01:41:51,390 If you're getting frustrated with how easy 2382 01:41:51,390 --> 01:41:54,810 it is to-- how not slippy things are. 2383 01:41:54,810 --> 01:42:02,378 2384 01:42:02,378 --> 01:42:03,470 Come on. 2385 01:42:03,470 --> 01:42:04,434 [CLATTERING] 2386 01:42:04,434 --> 01:42:05,690 OK. 2387 01:42:05,690 --> 01:42:08,960 So we've got a little bit of ambiance. 2388 01:42:08,960 --> 01:42:10,850 There's some office murmur in there. 2389 01:42:10,850 --> 01:42:11,350 OK. 2390 01:42:11,350 --> 01:42:12,680 AUDIENCE: More and more convincing. 2391 01:42:12,680 --> 01:42:13,910 IAN SEXTON: Getting more and more convincing, right? 2392 01:42:13,910 --> 01:42:16,910 And we could do something really simple like add gain to this. 2393 01:42:16,910 --> 01:42:21,080 And it would allow us to sort of increase the office murmuring. 2394 01:42:21,080 --> 01:42:22,970 [INDISTINCT CONVERSATIONS] 2395 01:42:22,970 --> 01:42:23,640 Or decrease it-- 2396 01:42:23,640 --> 01:42:24,140 [DOOR SLAMS] 2397 01:42:24,140 --> 01:42:26,700 --to the level that we want it to be at, OK? 2398 01:42:26,700 --> 01:42:30,033 And so I think we'll leave it right here as sort of a neutral point. 2399 01:42:30,033 --> 01:42:33,200 And maybe I'll grab this clip, and I'll bring it back to the end of my video 2400 01:42:33,200 --> 01:42:35,700 because we don't need it sort of extending out into nowhere. 2401 01:42:35,700 --> 01:42:38,000 Just sort of wasted time. 2402 01:42:38,000 --> 01:42:39,140 OK. 2403 01:42:39,140 --> 01:42:42,440 So a couple of other things that we have here just to sort of 2404 01:42:42,440 --> 01:42:44,630 add a few other things in really quickly. 2405 01:42:44,630 --> 01:42:46,640 We have an audio track. 2406 01:42:46,640 --> 01:42:50,684 This is actually a good one because it's really loud. 2407 01:42:50,684 --> 01:42:52,985 [PHONE RINGS] 2408 01:42:52,985 --> 01:42:53,807 Right? 2409 01:42:53,807 --> 01:42:55,640 So we're not going to play that whole thing. 2410 01:42:55,640 --> 01:42:57,950 But maybe we add it in here. 2411 01:42:57,950 --> 01:42:58,450 Oops. 2412 01:42:58,450 --> 01:42:59,780 Wrong track. 2413 01:42:59,780 --> 01:43:01,160 Selected. 2414 01:43:01,160 --> 01:43:02,240 But we add it in here. 2415 01:43:02,240 --> 01:43:05,660 And I know it's really loud because I could see the levels bouncing here, 2416 01:43:05,660 --> 01:43:07,280 and it was up around 0. 2417 01:43:07,280 --> 01:43:11,210 So I'm just going to right off the bat add a gain to it. 2418 01:43:11,210 --> 01:43:16,506 2419 01:43:16,506 --> 01:43:17,006 Oops. 2420 01:43:17,006 --> 01:43:20,400 2421 01:43:20,400 --> 01:43:22,200 This is sort of the hard thing. 2422 01:43:22,200 --> 01:43:25,280 Selecting your clips and stuff is important with Shotcut. 2423 01:43:25,280 --> 01:43:27,970 2424 01:43:27,970 --> 01:43:28,470 OK. 2425 01:43:28,470 --> 01:43:31,980 And I'm going to drop this gain sort of way down. 2426 01:43:31,980 --> 01:43:34,074 And it's nice actually. 2427 01:43:34,074 --> 01:43:35,642 AUDIENCE: [INAUDIBLE] 2428 01:43:35,642 --> 01:43:36,350 IAN SEXTON: Yeah. 2429 01:43:36,350 --> 01:43:37,850 [PHONE RINGS] 2430 01:43:37,850 --> 01:43:38,350 OK. 2431 01:43:38,350 --> 01:43:39,771 I mean, That's still way too loud. 2432 01:43:39,771 --> 01:43:42,998 [PHONE RINGS] 2433 01:43:42,998 --> 01:43:45,772 AUDIENCE: Should that get progressively louder as he's walking? 2434 01:43:45,772 --> 01:43:46,480 IAN SEXTON: Yeah. 2435 01:43:46,480 --> 01:43:47,910 You could begin to play with that. 2436 01:43:47,910 --> 01:43:50,490 You could begin to sort of cut this up and adjust level. 2437 01:43:50,490 --> 01:43:51,540 Maybe he walks by it. 2438 01:43:51,540 --> 01:43:55,710 So it's quiet, it gets loud, and it gets quiet again when he goes in the office. 2439 01:43:55,710 --> 01:43:56,440 OK. 2440 01:43:56,440 --> 01:43:59,190 But right off the bat, I mean, we haven't done really a whole lot, 2441 01:43:59,190 --> 01:44:01,440 and this is really roughly placed. 2442 01:44:01,440 --> 01:44:02,265 But-- 2443 01:44:02,265 --> 01:44:03,750 [PHONE RINGS] 2444 01:44:03,750 --> 01:44:06,960 --it's much more believable and much more immersive at this point. 2445 01:44:06,960 --> 01:44:08,820 [PHONE RINGS] 2446 01:44:08,820 --> 01:44:09,320 OK? 2447 01:44:09,320 --> 01:44:11,820 AUDIENCE: I can't believe they'll do this for every scene in a movie. 2448 01:44:11,820 --> 01:44:12,528 IAN SEXTON: Yeah. 2449 01:44:12,528 --> 01:44:15,390 And for every sound you hear, everything you see on screen. 2450 01:44:15,390 --> 01:44:16,040 It's wild. 2451 01:44:16,040 --> 01:44:18,520 DAN COFFEY: But also how fun would that be for your job? 2452 01:44:18,520 --> 01:44:18,610 IAN SEXTON: Yeah. 2453 01:44:18,610 --> 01:44:19,560 DAN COFFEY: That would be so fun. 2454 01:44:19,560 --> 01:44:20,370 IAN SEXTON: Right? 2455 01:44:20,370 --> 01:44:22,980 It would be really amazing. 2456 01:44:22,980 --> 01:44:27,110 So you could then export this just as you would any other video from Shotcut. 2457 01:44:27,110 --> 01:44:29,610 But this is essentially how you would begin to develop this. 2458 01:44:29,610 --> 01:44:33,180 And you'll have to go and record some of your own sounds, 2459 01:44:33,180 --> 01:44:35,820 or maybe you're going to search through some of these resources 2460 01:44:35,820 --> 01:44:37,950 to find sounds that are already recorded. 2461 01:44:37,950 --> 01:44:39,600 And you begin to build the soundscapes. 2462 01:44:39,600 --> 01:44:42,392 DAN COFFEY: And in the slides, the link that has exclamation points 2463 01:44:42,392 --> 01:44:46,950 after it from Adobe is a library of thousands of sounds 2464 01:44:46,950 --> 01:44:50,568 that you can download and have for free courtesy of Adobe. 2465 01:44:50,568 --> 01:44:53,610 So I highly recommend if you're going to do a sound design for something, 2466 01:44:53,610 --> 01:44:54,720 check that link out. 2467 01:44:54,720 --> 01:44:55,890 IAN SEXTON: Right. 2468 01:44:55,890 --> 01:44:58,320 So hopefully this will be helpful. 2469 01:44:58,320 --> 01:45:02,040 The next assignment will be released on Monday, I believe, 2470 01:45:02,040 --> 01:45:03,510 just as it would be for a lecture. 2471 01:45:03,510 --> 01:45:07,760 But we're a little early, so do look for that. 2472 01:45:07,760 --> 01:45:10,567 And I think that's pretty much concludes our lecture for today. 2473 01:45:10,567 --> 01:45:13,150 So if there are any other questions, we can take them offline. 2474 01:45:13,150 --> 01:45:15,390 And I'll be happy to answer them for you. 2475 01:45:15,390 --> 01:45:17,540 Thank you all very much.