Sound for Video Session: Troubleshoot, Mobile, Richer Sound, Noise, and ADR

In this week's Sound for Video Session we run through several questions:

- How to troubleshoot
- Does the Kaotica Eyeball really reduce room reverb for recording?
- Best gear to record podcasts on the road?
- How do I make my recordings more “full-bodied”?
- What can I do when I’m recording an interview and a snow removal blower is working outside?
- Which microphone should I use for ADR?

Gear used or mentioned in this episode:

Kaotica Eyeball

Electrovoice RE20 Dynamic Microphone (Voiceover for this session was recorded with this)

Tascam DR-60DmkII Audio Field Recorder

Antelope Orion Studio Audio Interface (Voiceover for this session was recorded with this)

Copyright 2017 by Curtis Judd

Sound for Video Session: ADR, dB, SPL, Cables, and Adverse Conditions

In our Sound for Video Session this week, we discussed several thoughtful questions:

- What are all the different dB scales and how do you just measure how loud sound is?
- Which cables do I need to connect all my microphones, wireless, and recorders?
- What are some tips for when you’re recording in very hot, very cold, or very humid conditions?

And here are the links we discussed in the session:

Tone Benders Podcast

dB Definitions at Wikipedia

Overview of cables, plugs, connectors, power, balanced vs unbalanced

SoundWorks Collection: Dialog Editing & ADR Featuring Gwen Yates Whittle

If you haven't heard of the SoundWorks Collection and you are an audio for film enthusiast, you might like to have a look at the great content they create for film sound students like us. One of the things I've found very interesting and informative is their Conversations with Sound Artist Podcasts which is sponsored by the Dolby Institute. In this episode, for example, Glenn Kiser interviews dialogue editor Gwen Yates Whittle who has worked on a number of large films that you have probably seen.