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Canal at Milton Keynes, England

Feb 21, 2013 6:10 PM

Canon 650D, this time with 40mm f2.8 prime lens.  BTW the UK setup is 25 fps, 1920x1080.   Sorry about a bit of wind on the mic (it was b..... freezing with a sharp wind, I wasn't dressed for it, excuses excuses).  I've attenuated it a bit (a bit too much, and not managed the audio transitions well, but heck ...)  This one is shorter than yesterday's boring bridge botch, but with a tendency to throw in effects for the sake of effects, well, um, practise ...   Hope the links work.

 

Included, a look at the timeline at the end of the work.  Because I mucked up the audio when doing the TimeStretch, I had to delete that bit and copy the bit before it and keep on copying it 'cos it was too short, hence the funny appearance of the sound line.

 

Final-look-of-work-for-Canal-Video_JPEG.jpg

Here are the links to the video, Canal at Milton Keynes, England

 

https://www.dropbox.com/sh/lc79p86srize96g/jYgA2sXif_

 

Braces in case the belt snaps

 

http://tinyurl.com/a8hpc4f

 

(Sorry, the local shop has run out of helium for the moment ...)

all best

Brian

 
Replies
  • Currently Being Moderated
    Feb 21, 2013 7:04 PM   in reply to gbrmk

    Brian,

     

    Background noise with audio recording is a problem. Much will depend on what you wish to retain, and what you wish to eliminate. This article goes into more detail: http://forums.adobe.com/message/2860521#2860521

     

    Hunt

     
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  • Currently Being Moderated
    Feb 21, 2013 7:12 PM   in reply to gbrmk

    I see that you are now adding/working with PiP (Picture in Picture). Keep going!

     

    Good luck,

     

    Hunt

     

    PS - those "canal houseboats" are neat. In Oct, we took the EuroStar to Paris from St. Pancras. I hoped for a lot of the countryside, but like many trains in the UK and Europe, we were in a 12' deep concrete "channel" for too much of the trip (plus the Chunnel), but did get to see some of the canals with the boats, just before we plunged into darkness. It was not much better in FR, as they also run the RR on an "excavated" rail line - do not get to see THAT much of the lovely countryside, just graffitti.

     
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  • Currently Being Moderated
    Feb 22, 2013 3:36 AM   in reply to gbrmk

    To remove the background noise, there seem to be some "effects" available under the Effects panel in the bottom -> Audio Effects section. I see one named "NewBlue Noise Remover" and another one named "NewBlue Hum Remover". I don't know how good they are because I have not used them. Maybe they help. At least their names say they are likely to help.

     
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  • Currently Being Moderated
    Feb 22, 2013 7:50 AM   in reply to gbrmk

    Brian,

     

    One side-note, that might/might not come into play with any external digital audio recording device is sync.

     

    As an example, one PrPro user, who does a lot of events and weddings, uses a bank of Zooms, along with his Panny cameras. The Pannys match perfectly, being the same exact models w/ the same settings, but he found that all of his Zooms yielded audio that had dynamic sync drift, noticeable in longer shots. With testing, he found that the Zooms ran +0.04% faster, than his Pannys did. Now, he adjusts the Audio speed (in PrPro, or Audition) by -0.04%, eliminating the OOS issues.

     

    One would think that in the day of electronically controlled digital recording, all cameras and all audio recorders would be 100%, but they are not. In the old days, we'd hook up our camera to our Nagra recorders, via cables, and let either the camera provide the sync signal to the Nagra, or vice versa. Now, we were only shooting 400' mags of film, so the shots were not hours long, but our sync was always 100%, and that was in the 1970's. However, we WERE tethered via those cables.

     

    Just something to check into, and perhaps adjust for in post-production.

     

    Good luck,

     

    Hunt

     
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  • Currently Being Moderated
    Feb 22, 2013 7:56 AM   in reply to gbrmk

    I find that a good shotgun, mounted on-camera (I seldom get to work with a sound crew nowadays), goes a long way at eliminating all camera/camera operator noise. One STILL has to take the ambient noise into consideration - say a lorry within range of that mic, but out of the scene, wind, people, who are not in the shot, etc.

     

    One big issue that I often see is with consumer cameras, that offer Surround Sound. I find that to be one of the worst ideas in modern video camera designs. It normally means that one is now recording audio 360 degrees, and most of that will NOT be what one wants. I feel that those are part of a poor marketing ploy.

     

    Now, DD 5.1 SS is a great thing, but it takes a professional audio crew with just the right equipment, to get it right. They also record at least 5 separate mono tracks, and usually with specialized mics for each feed, then the mix is done in the studio.

     

    Good luck,

     

    Hunt

     
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