Veteran Freelance Mixer Jonathan Freed Achieves Clear and Transparent Sound Using Digital Mics

New York—October 19, 2011: Jonathan Freed is an Emmy Award winning network mixer who has been in the audio industry almost 40 years. Since football season began early last month—and indeed for a number of years—Freed has been busy perfecting his approach to make sure the ambient sounds he is capturing are superbly clear. Among his key building blocks in achieving this are digital broadcast microphones from Sennheiser and Neumann.

Adobe MAX 2011 Technology Sneak Peeks

Adobe’s big annual MAX conference finished a couple of weeks ago, and as part of it they included a series of technology sneak peeks. I’ve gone through the videos posted on AdobeTV and pulled out the ones of most interest to us video folks:

Remote Digital Media Chooses Audio-Technica to Capture the Audio on Food Network® Programs

If high-definition broadcast video has made the offerings on The Food Network® look good enough to reach in and sample, Remote Digital Media (RDM) makes certain that the sound is equally enticing. RDM is an EMMY Award®- and Telly Award®-winning audio and video remote company based in Woodstock, New York, that handles audio for several of the network’s most popular programs, including Next Great Baker and Rachel Ray. To get great sound, RDM uses microphones and wireless systems from Audio-Technica on all of its shoots. For instance, RDM has used the Audio-Technica dual-receiver Artist Elite® 5000 Series frequency-agile True Diversity UHF wireless system all nine seasons of reality show Chopped. On Rachel Ray, RDM employs the A-T 1800 Series Camera-mount Dual-channel UHF wireless system as well as the ATR5200 Monophone/Dynamic Boom Microphone Combination Headset. Many shows will also benefit from the Audio-Technica BP4071 Line + Gradient Condenser shotgun microphone for audience and ambience capture, which allows RDM to create a “seamless transition” between onstage and offstage audio.

Go Behind The Scenes to Discover the RØDE Difference

RØDE Microphones is proud to announce the launch of ‘The RØDE Difference’ (therodedifference.com), a new web site and online campaign that goes behind the scenes of the Australian microphone manufacturer, publicly sharing for the very first time the secrets and techniques behind how they produce their world-class microphones.

The One Collaboration I Need Adobe To Make

Hey folks, been gone a while, but it’s fall and time to get back in the swing of things.  One of the interesting side-effects of writing for PVC is that I am on just about every PR person’s mail list.  Usually these missives are easy to toss to the side, but the other day I got one from Adobe, talking up their presence at IBC 2011 in Amsterdam (for the record, IBC is the international version of NAB, held in early September every year.)  As a long-time Premiere Pro and CS-suite convert, I paid a little bit more attention to this one than average.  Unfortunately, I neglected to save the URL, but the gist of it was this:

Roland QUAD-CAPTURE: the little sister of the OCTA-CAPTURE

ProVideo Coalition readers who are into audio gadgets probably read my recent full review about the OCTA-CAPTURE from Roland. This article is about the OCTA-CAPTURE’s little sister, the QUAD-CAPTURE, and covers the differences between the two units, as well as its relative preamp and ADC (analog>digital conversion) quality compared with similar devices. Both of the two sisters connect to a computer via USB. One of the first things you’ll notice is that the QUAD-CAPTURE’s name insinuates more microphone inputs than it really has.

CMG Hidden Gems: Chapter 36B – Audio Effects

We’re going through our book Creating Motion Graphics with After Effects 5th Edition (CMG5) and pulling out a few “hidden gems” from each chapter. These will include essential advice for new users, plus timesaving tips that experienced users may not be aware of.

After Effects comes with several audio processing effects located inside the menu Effect > Audio. We discussed the basics of audio plus the Stereo Mixer effect in the book’s Chapter 36; in the Bonus Chapter we discuss some of the other effects, including how they work as well as some suggested applications for their use. Our personal bias is more toward audio “sweetening” than special effects creation, and that is our focus in the bonus chapter on the book’s DVD, and in the tips we share here. Of course, the effects available in a dedicated program such as Adobe Audition are far more capable than the rudimentary ones included inside After Effects, but surprisingly often the After Effects versions are all you need to perform simple enhancements.

CMG Hidden Gems: Chapter 36 – Working With Audio

We’re going through our book Creating Motion Graphics with After Effects 5th Edition (CMG5) and pulling out a few “hidden gems” from each chapter. These will include essential advice for new users, plus timesaving tips that experienced users may not be aware of.

After Effects has never made audio one of its strong points. If you need to seriously rework a soundtrack, do it in a dedicated audio program (such as Adobe Audition, which is now part of the Production Premium suite as of CS5.5). But if you just need to edit, mix, and do some basic improvement or “sweetening” to your sound track, After Effects already has the tools you need. In this installment, we’ll share some tips on working with audio; in the next installment, we’ll cover audio effects.

Page 3 of 21 pages  <  1 2 3 4 5 >  Last »