At Ladybird Studios we can edit (post-produce) high quality audio recordings and add that to videos to create promotional or historic material. We can produce pure audio recordings but we don't have recording studio facilities to 'layer tracks'. What we do will always have an element of live recording sound.
AUDIO CAPTURE for VIDEO
The easiest way to capture high quality audio (for a music video) is off the sound desk. This can either be a copy of what is being sent to the PA 'speakers, or a multitrack feed before any mixing and processing has been applied by the sound engineer. Many digital mixing desks can record audio onto memory cards or via a USB link. Some output individual computer readable audio files whilst others use formats such as Dante. Many analogue desks will capture a stereo feed to a memory card or output it to a USB port.
In all cases it is essential to capture a real-time audio feed from somewhere into the main camera otherwise it is very difficult to synchronise the recorded sound track with the video. In some cases, such as pure film work, it is best to capture audio direct to video by first intent. In these cases the type, quality and positioning of the microphone is critical. We use Rhode 'shotgun' microphones on microphone booms for general stage acting, Behringer condenser microphones for close dialogue, and Sony stereo microphones for ambience. Generally the microphones that come as part of the camera are not very good and pick up a lot of unwanted sound.
In all cases it is essential to capture a real-time audio feed from somewhere into the main camera otherwise it is very difficult to synchronise the recorded sound track with the video. In some cases, such as pure film work, it is best to capture audio direct to video by first intent. In these cases the type, quality and positioning of the microphone is critical. We use Rhode 'shotgun' microphones on microphone booms for general stage acting, Behringer condenser microphones for close dialogue, and Sony stereo microphones for ambience. Generally the microphones that come as part of the camera are not very good and pick up a lot of unwanted sound.
VIDEO PRODUCTION
The easiest and most usual method of capturing video is to use a smartphone. Most have default software that can achieve many advanced features such as stabilisation, depth of field (blur the background), zoom, tracking etc. The phone itself however contains one or more small aperture cameras and the features are all created using very clever software. Many smartphones use American standards which can cause problems such as video banding in artificial light. Better video capture software can overcome that. We use BlackMagic Camera
As a generalisation, in any video camera, big is better. The bigger the lens glass the more light it will capture. Similarly the bigger the sensor the more information (colour depth as one example) it will capture. If the lens has optical zoom then you won't loose clarity as you zoom in on a subject, which is particularly important when capturing a stage from a distance. We use Sony digital cameras.
In both cases it is essential to keep the camera stable. A simple clamp with a handle should suffice. We use two handle frames, one with a shoulder pad for mobile shots, and tripods for static shots. We have motorised gimbals but they are of limited use and can have minds of their own!
Finally, if using more than one camera we would set the white balance to manual on each so that colour matching between cameras in post-production only has to be done once. One camera would be fixed to a tripod at the back of the venue, aimed and zoomed at the stage, set to record, then left alone. Others can be fixed at different angles or mobile depending on what you have available and how much room you have to manoeuvre. The fixed continuous shot from the rear camera acts as the key synchronisation point in post-production.
As a generalisation, in any video camera, big is better. The bigger the lens glass the more light it will capture. Similarly the bigger the sensor the more information (colour depth as one example) it will capture. If the lens has optical zoom then you won't loose clarity as you zoom in on a subject, which is particularly important when capturing a stage from a distance. We use Sony digital cameras.
In both cases it is essential to keep the camera stable. A simple clamp with a handle should suffice. We use two handle frames, one with a shoulder pad for mobile shots, and tripods for static shots. We have motorised gimbals but they are of limited use and can have minds of their own!
Finally, if using more than one camera we would set the white balance to manual on each so that colour matching between cameras in post-production only has to be done once. One camera would be fixed to a tripod at the back of the venue, aimed and zoomed at the stage, set to record, then left alone. Others can be fixed at different angles or mobile depending on what you have available and how much room you have to manoeuvre. The fixed continuous shot from the rear camera acts as the key synchronisation point in post-production.
LIGHTING AND STAGE SETS
Having said I was getting out of lighting that is not quite possible. We can provide silent key lighting for film or small stage sets comprising LED RGB units as well as more traditional photo soft boxes. These can be controlled so that scenes can be reproduced easily. I am no longer doing dynamic, real time, lighting control (unless the bribe and cause makes it worthwhile).
I am reluctant to work with other people's equipment, including hired, unless I have loads of time in advance to test and get familiar with it. That said I'm happy to operate a system that has been pre-tested such as a theatre set-up. It is about managing risk.
I am also able to create stage sets and provide special effects such as smoke if required.
I am reluctant to work with other people's equipment, including hired, unless I have loads of time in advance to test and get familiar with it. That said I'm happy to operate a system that has been pre-tested such as a theatre set-up. It is about managing risk.
I am also able to create stage sets and provide special effects such as smoke if required.
POST PROCESSING
I would edit the audio first to make a soundtrack that sounds good before any video is added. It is likely that a baseline source recording was made in one take for the entire performance and it is important to keep it that way during the edit process even if different effects are added to each 'track'. This makes synchronisation with the video easier.
If I was using more than one camera then the first thing is to colour balance them before cutting. I'd then synchronise the edited audio file with the continuous video file. This can be done with smaller, broken up 'takes' but this way is quicker. This gives you a baseline video with good sound.
I'd then insert clips from the other cameras as appropriate leaving the new master audio. There may be some bits of audio that you want to keep from the other recording devices (such as audience feedback), in which case it can be mixed in.
We use Apple's Logic ProX and Final Cut Pro for audio and video editing, and Blackmagic DaVinci Resolve for both. They all have pros and cons.
If I was using more than one camera then the first thing is to colour balance them before cutting. I'd then synchronise the edited audio file with the continuous video file. This can be done with smaller, broken up 'takes' but this way is quicker. This gives you a baseline video with good sound.
I'd then insert clips from the other cameras as appropriate leaving the new master audio. There may be some bits of audio that you want to keep from the other recording devices (such as audience feedback), in which case it can be mixed in.
We use Apple's Logic ProX and Final Cut Pro for audio and video editing, and Blackmagic DaVinci Resolve for both. They all have pros and cons.