Sound for Video Session: Microphone Preamp Self-Noise
In this week’s Sound for Video Session, Julian Krause joins us to talk about pre-amplifier self-noise and other places in the audio signal chain where self-noise can be generated. My hope is that this will help inform where you may want to invest in your audio gear to solve any self-noise issues you’re experiencing.
Julian’s videos on self-noise:
How to measure preamp self noise
Preamplifier noise explained
Comparison of self noise on 4 preamps
Gear and links discussed/used to record this episode:
Zoom H5 Audio Recorder
Sound Devices MixPre-6
Sound Devices MixPre-3
Zoom F8
Zoom F4
Electrovoice RE20 Dynamic Microphone - used to record this session
Copyright 2018 by Curtis Judd
Outro music licensed from Artlist: Keep an Eye by Back to Dream. Artlist provides high quality music tracks for your film and video projects. You can receive two months off an Artlist account by using our link.
Sound for Video Session: Sync, Timecode, Noise, Preamps, Monitors and More!
In this week's question and answer session, we tackle the following topics:
00:04 Audio Sync
02:15 Timecode, Breakaway Cables
05:16 Noise Reduction, External Preamps
08:06 Mixing Monitors
12:19 Sound Blankets vs Moving Blankets vs Quilts
15:17 Sennheiser MKE 600, Shock mounts, Wind Protection, Audio Interfaces
23:22 Monitor Placement
25:42 Compression Ratio, Sound Floor
Gear and links to previous sessions discussed in this session:
Remote Audio Breakaway Cable
Avantone Pro Mix Cube Powered Monitor (set)
KRK Rokit 5 G3 Powered Monitor (one)
Sennheiser MKE600 Shotgun Microphone
Rycote InVision Lyre Shock Mount:
Sennheiser MZS 600 Shock Mount for MKE600:
Rycote Hot Shoe Adapter - Mount your shock mount on your camera's shoe
Rycote Softie Furry Windscreen (good for light wind)
RODE Blimp Wind Cover (good for stronger wind)
Rycote Cyclone (the best wind protector I've used and own)
Electrovoice RE20 Broadcast Microphone - this is what I used to record this session
Producer's Choice Sound Blankets
Timecode demonstration:
Noise Cleanup:
Sound Design, Effects, Foley:
Copyright 2017 by Curtis Judd
Ursa Mini Pro XLR Inputs & Sound Features
The Blackmagicdesign Ursa Mini Pro camera has 2 XLR inputs. Are they good enough to use for your main production audio recording? Or do you still need a separate audio recorder to record your sound?
Let’s have a listen and do some tests.
Spoiler alert: The inputs are decent for camera inputs and usable with high quality microphones. They're not nearly as clean as most high quality audio recorders with XLR inputs, but can still be very usable depending on your mic choice and sound quality expectations.
I'm still learning my way around the Ursa Mini Pro. This is my new main camera for most of the type of work I do but I still very much rely on my Panasonic GH4 (and hopefully soon, GH5) as second camera and when I need to get a gimbal shot.
I'll still probably do most of my sound recording to my Zoom F4, F8, or Sound Devices 633 but will experiment with sending a stereo mix from the Zoom or SD to the Ursa.
Gear used to film or mentioned in this episode:
Blackmagicdesign Ursa Mini Pro Digital Film Camera
Shure SM58 Dynamic Microphone
Sennheiser EW100 G3 Wireless Lavalier Kit
Aputure Light Storm COB120t LED Light (Key Light)
Aputure Light Dome Soft Box (for COB120t key light)
Panasonic GH4 4K Camera
Panasonic Lumix 12-35mm f/2.8 Lens
Copyright 2017 by Curtis Judd
