One of the easiest ways to improve your production, be it podcast, radio, film, or music, is to take a look at the type of device into which you are recording your audio. Most pros know (and will tell you), not all audio is captured equally.
AJA’s Ki Pro “family” is a lineup of file-based, video recording and playback devices. With a form factor and controls reminiscent of a traditional tape deck, the original Ki Pro was popular with broadcast and post-production professionals because it enabled SD and HD video recording in the edit-friendly ProRes 422 format.
Every so often, a piece of audio gear is released that quickly builds a loyal base of users to the point that it becomes almost ubiquitous, just an obvious choice for a given application because it works so well. The rise in popularity of the Zoom H4n is such an example.
If you gather ten sound engineers in a room and ask them what’s the best way to record something, don’t be surprised when you get ten different answers. One thing that makes sound engineering such a fun field is that all ten answers will probably be right.
Convergent Design ranks among industry leaders in the manufacture of the portable video recorder, a type of device that offers better image quality than the built-in recorder in most camcorders. Convergent Design has recently announced the Odyssey7 and Odyssey7Q monitor and recorder.
When it comes to production sound for film or an original series, quality audio capture is imperative. Bad audio can ruin the experience for everyday viewers and critics alike. In this article, we’ll discuss the elements of an effective and ultra-portable sound recording rig.
Trending topics on Twitter change rapidly from one minute to the next, but in the world of electronics manufacturing, trends evolve slowly, often taking an entire calendar year to surface. Here at B&H, we’re among the first to get our hands on the latest professional and consumer equipment, and we’re always looking for new trends in the products.
Way back—five years ago—if you shot video, you used a video camera, and if you shot photographs, you used a still camera. Today, that distinction is all but meaningless. Almost every video camera today captures stills, and virtually every still camera now shoots video.
When most people record audio in stereo, they usually go to the most common mic configurations, such as a matched pair of microphones arranged in an X/Y pattern, or possibly those same matched mics in an ORTF pattern for a wider stereo field.
Full Raster High Definition Video has six times the number of pixels as SD video. Theoretically it should take up six times as much space as SD. However, AVCHD has a slightly lower bitrate (24 Mb/s) than the DV codec used on most of the SD tape cameras of yore (25 Mb/s).
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