TV 2M

by Audio-TechnicaUK

Audio is one of the most frequently over looked, but one of the most important parts of a video for YouTube. Almost anybody can post a video online now but one thing that will help that video stand alone in the crowd is high quality audio. When squaring audio there are 3 main things to consider; audio source, audio levels and ambient noise.

The most important thing to consider when recording audio for video is the audio source. Be it a built in microphone, an external microphone or a feed from a mixer the source will be the biggest determining factor of audio quality.

Almost every video camera has a built in microphone, and almost every built in microphone will produce sub-par audio. The audio from a built in microphone will often pick up the noise from the camera itself, the noise made by operating the camera and not to mention they are not usually very direction so they pick up a lot of ambient noise.

If there is no other option but to use the built in microphone the best solution is to get close to what ever audio is being recorded. If it is a person speaking, zoom out and move the camera closer to the person. If it is the sound of a saw cutting, again zoom out and move it. The closer the microphone is the better the audio will be.

An external microphone will almost always give better audio quality than a built in microphone. Many video cameras will have an external audio jack that will either be a stereo mini jack or XLR plugs on high-end cameras. Almost all microphones will work with any camera that has a microphone jack, either directly or with the use of adapters.

When interviewing a person, or having a person speak to camera a lav microphone will help eliminate unwanted noise by putting the microphone very close to the persons mouth. This is how all TV News and Sports anchors audio is captured.

When working in noisy areas or performing on the street interviews a stick mic will often be the best choice. Stick mics are what you will often see on-sceen reporters using with a mic flag that shows what station they work for. This type of microphone is good at eliminating unwanted noises and is easy for a person to point back and forth from themselves to another person.

In high end productions a boom mic is often used. The boom mic requires an operator and can be complicated. But in skilled hands it will acquire the best possible sound. They are highly directional and very sensitive. A good boom operator can acquire sound from multiple people and other sources at the same time.

Audio levels are just as important as the audio source. If there is a great audio source but the level is being over driven the audio will be unusable. Many cameras that have an external audio jack will allow the operator to control the levels of the audio. If the camera does not have controls, it will have automatically adjust the levels for the operator.

When using a camera with manual controls, it is always better to set the levels than to let the camera do it automatically. When a camera sets the levels automatically it will adjust the audio level to the loudest sound.

Many times, between sentences of a speaker there will be a pause. During this pause the camera will then adjust to the loudest sound, which could be something like the air conditioner, which is pretty quiet. When the speaker starts to talk again the first work will be very loud and then the camera will adjust again.

When setting the levels manually it is best to have the peak of the meters at about the mid range. That will assure that the audio will be clear and if the source gets louder it will not distort. If the camera has decibel (db) meters, on a digital camera set the peak at -20db and on an analog camera set it at 0db.

Ambient noise is often the biggest problem for audio. Ambient can range from a loud bird chirping to a plane flying overhead to a loud street. Avoiding ambient noise is always the best idea, but if not possible there are a few things that can be done to help reduce it.

When in a noisy area try to always use an external mic. In very noisy areas a stick mic is the best option, but if the look of a stick mic is not welcome a lav will work fine. If an external mic is not an option always face the camera mic away from the noise source.

Here are a few tricks to help avoid ambient noise.

- Use natural barriers, such as houses, trees, walls and cars to block noises, - Use the body of the person speaking to block noise (turn their back to the noise when using a lav or stick mic) - Get the microphone closer to the source of audio - Unplug noisy appliances

Now get out there and make a video with outstanding audio, your viewers will thank you!

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by nofrills

Question by Michelle R: How do you hook up your surrond sound to your tv and playstation?
I just got a new Tv and new surround sound…we have an HDMI cable from the cable box to the tv then and HDMI from the surround sound, an audio cable from the surround to the cable box…the surrond works when watching tv however it doesn’t work when playing my playstation…the playstation is plugged right into the tv…I tried putting the playstation into the surround and the audio wires into the tv but then it only works for the playstation and not when watching tv…anyone know what i’m doing wrong?

Best answer:

Answer by imgettingaferrari
well this is one of those complicated things you got be there to walk through. i would recommend going to sears or wherever you bought it and ask someone to show you how to connect them all together.

i would bring your manual with you so they can draw arrows and label where each cord should go.

your playstation should be fine if its connected thru the tv and the tv is connected to HTiB (home theater in a box) and make sure you have it on the right channel and you have the audio cords going “in” to the tv on an rca jack(red, white, yellow cord) it should work if the tv does. if the regular tv works when its on cable/satelite/etc then you know that whatever sound is coming thru the tv is going to the HTiB.

so double chk where you are connecting your playstation to.
i think it should be connected to an “in” jack

if that doesnt work chk with your local sears or radioshack and find a “techie” guy who knows a lot about this stuff and can write it down in your manual.

Add your own answer in the comments!

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by LGEPR

Article by Jamie Francis

When it comes to gaming through your TV rather than your PC, user expectations of sound and picture quality are higher than ever before and manufacturers of LCD and LED TVs are aware that they must deliver on both of these things if they are to be the number one choice in such a competitive market; so which type of television is better for gaming, LCD or LED?

LCD (Liquid Crystal Display) TVs are crystal clear thanks to their high resolution and those models which use an analogue input can be adjusted to the correct pixilation for the game you are playing or the DVD or Blu-Ray player which you are connecting to and playing films through. The high intensity of light produced using this technology makes for particularly bright images, which are effective in all light conditions but really come into their own in brightly lit rooms, a condition which can wash out images on standard CRT televisions.

As well as being brighter than CRT TVs, LCD TVs and LED TVs are both easier to watch and reduce the instances of eyestrain and resulting headaches thanks to screens that don’t flicker. Choosing a quality television, such as a Samsung LCD TV, means that you will be able to watch television from almost anywhere in your room, as the screen can be viewed at up to a 160 degree angle, or 80 degrees either way from the centre point of the screen.

LED TVs are reliant on the LCD TV technology; LCD TVs are now available with LED backlighting which makes for an even clearer and crisper image as well as better blacks, which in turn mean better overall contrast. LCD TVs used to bow to the Plasma TV’s superior viewing angle, but these days high quality models are virtually comparable and no longer present a barrier to purchase either for gaming or viewing purposes.

Samsung LED TVs have been hailed as some of the best affordable LED TVs on the market at the moment, with a better HD (High Definition) picture than many in the same price bracket, a better range of blacks and therefore better contrast and finally, better picture quality at acute viewing angles. When it comes to gaming, you want a large screen and viewing range, good quality sound output and high definition picture, high contrast between blacks and colours and a bright screen that allows for a good quality image in both bright lit rooms and dark rooms. LED TVs are probably on a par with LCD TVs for all of these requirements except one; a good quality LED TV will likely surpass a standard LCD TV in terms of brightness of image thanks to the hundreds of LEDs used to backlight the screen.

Choose an LED TV from Panasonic or a Samsung LCD TV online and get the best gaming experience for the best price.

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by vk-red

Most Film Directors have elected to stay away from film budgets and production costs. The heavy grinding SHOULD be left to accountants – but, let’s lay it on the table:

The Film Director is at the helm of a big money-burning machine. It is the Film Director’s job to produce his/her vision of the script – on time and on budget. At his service is a team of film production experts (the Line Producer, Unit Production Manager, the AD team, Production Accountant, etc.) all there to assist the Film Director to do just that.

Film Directors make it their business to understand the basic functions of on-set filmmaking, without being able to fully light a set, or operate a crane, or focus a steadicam. In the same spirit, the Film Director must understand the basics of Budgeting and the extremely important Weekly Cost Reporting process. Every creative decision involves money. It’s only good sense to learn to translate creative ideas into costs.

Experienced Directors know of The Weekly Cost Report. If you’re not yet familiar with it, let me introduce it to you:

The Weekly Cost Report informs all Producers, Studio Executives and Financiers of the costs you’re expending and how those costs compare to the Approved Budget. If you are unable to challenge, or defend, the conclusions made by those who read that financial ‘Report Card’ (that is, those who hold the purse strings) your ability to control your career is significantly weakened.

Find a comfort level where you can, at the very least, know what to ask during the Budgeting phase, and have a good understanding of how you can trade-off one cost overrun with a cost savings in another area. Know how to formulate general concepts of trading off costs to arrive at your vision and you’ll impress the money belts off the Studio Executives.

Picture the following scenario: You’re the Film Director of an Independent Film Production. You’ve shot the exteriors called for in the script and you’ve seen the dailies; however, you KNOW that there’s a better shot of that exterior in Oklahoma that would give the perfect hook to the opening of your film.

You know that you can convince the producers of this on a creative plane. But, you also know that most producers will shudder at the task of dropping that bombshell on the Financiers/Bonding Company that you need to dip into the closely guarded Contingency funds. (Oh, did I tell you that we’re going to Okl…)

1. How do you pose solutions to those added costs?

2. What’s the right way to approach the game of cost trade-offs?

3. How do you defend those cost trade-offs?

It’s always going to be a challenge to present this kind of choice – but, a very doable challenge if you know how to translate your needs to cost trade-off’s by using my Walk The Talk ideas.

Usual Way: As the Film Director you sincerely express your view that the Oklahoma shot would be a perfect opening for the movie. What kind of response do you think you’ll get? Here’s the most likely, from my experience:

Film Producer/Bonding Company Rep – This will put us over-budget by $ 150,000. I’ll talk to the… ‘whoever’ – (it’s a stall for sure).

Walk The Talk Way

Alternative: Film Director

- The cost of shooting 1 day of exteriors will not require a full crew in Oklahoma. I’ve called the Film Commission there (see my web site for internet links to all Film Commissions and major Unions) and they have assured me that there are plenty of local crew available to work at a very decent rate.

- I estimate it should cost about 1/2 of your estimate, say about $ 75,000 to give us a bit more than we absolutely need. I can get that back over the next 5 days here in New York. (Note: you’ll need to pick-up a copy of my Ebook to see how I arrived at the $ 75,000 figure – see Figure 17.2, Table 3)

- You see, I’ve rehearsed the next five days with my very experienced cast and there’s no way that we can’t complete the scenes scheduled in 10 hours a day instead of the budgeted 13 hours a day. And, as you all know, that last 2 hours in New York costs about $ 10,000 a day (see Figure 15.1 in my book).

Alternative: Bonding Company Representative – Oh. Have the accountant make a schedule of the costs and we can check them. (That’s a Financier’s last stand – it’s up to the accountant to verify your estimates.)

You get the drift. You are simply applying a cost trade-off technique in the same technical way as you would use focal points, storyboards, crane shots, etc. You are ‘Directing The Money’; the money isn’t Directing you.

Some Directors, through the school-of-hard-knocks, have developed a ‘knack’ for conceptually streaming their creative ideas through a ‘what’s the cost?’ process. But that process is all too often tainted with blame on ‘the blue suits’ and ‘the money guys’ and ‘all they’re interested in is the money’, etc. It’s also often based on misinformation, biased toward a predetermined decision. Take my word for it; unless you, as the Film Director, can be familiar enough with the language of money in film production, you’re up the proverbial creek.

You, as the Film Director, are at the helm of a money burning machine. The best way to get the confidence of those who hold the purse strings is to know how to participate in the budget approval process, and then to trade off costs to get YOUR vision during the shoot. You could think of it as Directing, only you’re Directing The Money.

Ravi Verma is an unprincipled lawyer, who will bend the law to seek an acquittal for his clients. Ravi helps his father-in-law, Tejeshwar and his friends to imprison Satyaprakash, the local Municipal Commissioner on false grounds. Tejeshwar’s friends arrange for Satyaprakash’s death in prison, and label it as suicide. Satyaprakash’s son Karan finds out about his dad’s predicament and swears to avenge his humiliation and death. Karan goes on a rampage grievously injuring Ravi and killing his wife Kajal. After the attack, Ravi is left in a comatose condition and has no recollection of his past life while Tejeshwar and his friends plot to bring back Ravi’s memories by hiring a look-alike of Kajal. Will this succeed in helping Ravi regain his memory? How far will Karan go to seek his revenge?
Video Rating: 4 / 5

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{ Film is not dead } 006


Image by Photography King ?
I like icecream as much as the next person but on a cold April day?

Latest blog post Ben & Ellie

blog | facebook | twitter

Film 9 – Frame 21


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My first feature film


Image by Roger Smith
I’d like to thank the Academy…

Welcome to everyone who is viewing this photo as part of the Yahoo! Earth Day Favorites link. (April 22, 2006) I’m not sure why they picked this photo, but I’m glad you’re all here!

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A few nice film images I found:

DAF Lf Mobile Film studio assembly rooms bath AC03BBC


Image by bristol lad

Uppsala International Short Film Festival – Trailer 2011


Image by Viktor Hertz
Directed & edited by Viktor Hertz

Cinematography by Pophunters

Color grading by Jörgen Persson

Music by: Ratatat – ‘Sunblocks’
(P) 2010 XL Recordings Limited
Written by Evan Mast/ Mike Stroud
Published by Domino Publishing Company Ltd
ISRC No: GB-BKS-09-00538
Taken from the album ‘LP4′ XLCD 465
Licensed courtesy of XL Recordings Ltd
By arrangement with Beggars Group Media Limited
www.xlrecordings.com

www.shortfilmfestival.com

film projector street stencil


Image by cicatrix
Mr Roadsworth, I presume.

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www.maxmov.com 100% Reggada – Sahran M3ak Lila 2010 (2M Maroc Tv) ????? ???? ?????? ?????? ????? ???? 2010
Video Rating: 5 / 5

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by anonymonk

Article by Rob Buehl

Have you been putting off a TV upgrade for fear that the new 52? plasma your hubby has been eyeing will dominate your well?appointed den? Fear no more! Today?s big screen high-definition plasma TV?s have their OWN appointments ? TV lift consoles and cabinets!

In the same way your cosmetics compact ?operates? ? you open your compact to powder your nose or check your lipstick, and then snap it shut (tucking it away until its next use!) TV lift consoles and cabinets offer tasteful, discreet ?compacting? of your high-end TV!

TV lift technology was first introduced into the luxury hotel market, to help guests feel they had ?escaped? their daily routine by offering a unique and relaxing experience. Creating the right ambiance was essential, so a minimalist approach to decorating was used. Enter the TV lift cabinet/console.

These TV lift cabinets were hand-crafted from fine wood, including cherry, oak, pine, and mahogany. TV lift technology was developed to work via remote control, so a guest could press a button, and the TV would ?lift? out of the cabinet silently, enabling operation from anywhere in the room. Once raised, the TV could be ?swiveled?, allowing the screen to be adjusted for optimum viewing. The TV lift, the TV, the cable box, VCR (well, it was a VCR back then; DVD player today!) and accompanying wires were all ?hidden? within the beautiful cabinet, out of the guest?s way.

When TV watching was complete, with another simple push of the remote control, the TV submerged back into its cabinet/console, returning the luxurious suite to its former ?Zen? state!

TV lift technology is now available to EVERYONE, offering that peaceful, Zen-like state to your home, office, boat or RV!

In addition to the inconspicuous nature of this technology, TV lifts also offer increased safety for your new investment. Because the TV itself is bolted to the TV lift, it cannot be bumped or knocked by rambunctious children, pets or party guests! Also, since the TV ?disappears? into the cabinet when not in use, there is little chance for the screen to be scratched or smudged by everyday activities.

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AGADIR ( MAROC- MOROCCO- MAROKKO)
Video Rating: 4 / 5

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by Lou FCD

Portable two way radios are a convenient and relatively low priced means of communication. Two way radios are transceivers – that means they can both receive and transmit messages simultaneously. They are unlike broadcast receivers (such as the ordinary radio) which only receive messages or signals. A good example of the two way radio concept is the mobile phone and the hand held radio referred to as the walkie talkie. There are different categories of portable two way radios and each has its benefits and the circumstances for which it is most suitable.

The conventional portable two way radios operate on a fixed RF (radio frequency) channel. Even where a two way radio has the ability to tune into more than one channel, the user is required to select only one since the radio can only operate on a single channel at a time. Radios with multiple channel capability have a button or a channel selector as part of their control panel. Often, the frequency regulator responsible for a certain area will allocate different channels to different organizations. For instance, one channel can be assigned to a cab company in order to facilitate communication between the dispatcher and the taxi drivers.

A trunked radio is another type of portable two way radio – it uses a set of pre defined rules to automatically pick the radio frequency channel on its own. Digital versions of the trunked radio have the ability to multiplex – in other words, they can handle multiple conversations using the same frequency channel.

The other type of portable two way radio is the duplex radio. It can transmit and receive messages on different frequency channels. Equipment used for communication in a duplex system can only function where there is certain core infrastructure such as a repeater and a base station. The base station is used to re-transmit the signals received from one portable radio to the others as long as both radios are within the range of the base station’s signal reach.

There are three types of duplex system radios – the half duplex that requires the user to press a push button before relaying a message, the full duplex which can simultaneously receive and transmit signals and the hybrid duplex which applies both the half and full duplex systems. The advantage of this type of radio is its ability to extend the geographical area within which communication takes place between the end users.

Another classification of portable two way radios is the analogue radio and the digital radio. The analogue includes the AM radios used in aircraft and the walkie talkie. Its advantage is that, in areas with weak signals it has a better ability to communicate (but only as long as good quality equipment is used). The digital radios include the standard safety radio. This portable two way radio allows simultaneous communication between multiple users and can also send non voice data such as a text message.

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