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Fixing poor-quality audio in post can be a difficult and costly business. So what can be done to reduce the problem before it gets to that stage? Adrian Pennington asks the experts. Poor-quality audio is often reason enough for viewers to change channel, yet cheap-sounding soundtracks are commonly caused by basic production errors that could have been avoided. Tight budgets and a lack of training are often to blame for the mistakes, which can cause longer post times, increase costs and compromise creativity, when in most cases they would not have occurred if just a little more attention had been paid. With the fidelity of TV sets sharpening and the demand for 5.1 surround sound increasing, producers can’t afford to ignore the impact of bad audio on a viewer’s experience.
Come along to IOCO's evening demo of the new Schoeps Super CMIT on Thursday, 2nd September
Put it down in your diary!
Read the Audio Media review of Rycote's Universal Studio Mount (USM)
Decent shockmounts can actually improve the sound you get from your mics, but they can be expensive and not always durable. Rycote aim to solve both problems with their new designs.
DPA’s Portuguese distributor Avantgarde has supplied a 5100 mobile surround microphone and ten 4017mk2-R shotgun mics with Rycote weather protection systems to Radio e Televisao de Portugal (RTP), to be used at the Dragon Stadium in Porto, on the UEFA Champions League Porto vs Chelsea football match.
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Rycote Microphone Windshields Ltd