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Test. Test. Test. One. Two. Test.
Let's talk about B-roll and sounds.
Say you shoot a video with a bunch of B-roll shots,
now you can put music underneath it and it will probably be nice.
You know, let's have a look at an example right here.
Great.
That was Kevin, by the way.
Thank you Kevin for that awesome performance.
However, we are missing some dynamics, you know, depth;
One of the foundations of what we call a cinematic video.
Don't worry, Kevin, it's not your fault.
It's ours.
We should have recorded sound as well.
So let's do that. Let's record sounds.
To capture a clean audio, one of the general rules
is to bring your microphone as close as possible to the subject.
But that's not always so convenient.
I know Kevin likes to use the space around him,
so the best thing that you can do is to 'boom.'
We're using the Deity S Mic 2 which is this one right here.
It's a great shotgun microphone
and it's directed to the subject and will therefore capture its audio much cleaner.
Now this microphone is super useful when you have a sound guy with you,
but not so convenient when working alone.
You know, it's pretty big, it's heavy,
plus it connects through an XLR cable which not all cameras have.
So that's where these mics comes in.
These are also shotgun mics but on a much smaller and lighter form factor.
These are the Deity V Mic D3 and it's Pro variant.
And they just snap onto your camera and connect through a mini jack
and the Pro version of this mic actually has an analog volume control,
which it makes it very useful when shooting run-and-gun or when vlogging
as you can change the volume without having to go in to your menus.
Now if your camera sits at a distance,
you could hook up one of the video mics to your cell phone and use that as a recorder
because, like mentioned before, you want to have your mic as close as possible to the action.
Now a third and final solution is to work with LAV mics and actually Deity also have a few of them.
This one right here is the V LAV and the great thing about this mic is that it's cable is five meters long.
No idea how much that is in feet or knees or toes or noses.
Whatever. I'll leave somewhere it right here [16.4 feet].
And this is great as that gives you some distance to tuck away the mic and have the cable,
you know, run to your camera or to an audio recorder.
You know, wireless transmitters like this one right here are pretty expensive.
So if you're starting out and you don't need more than five meters,
then this is actually a great solution to start with.
Now what I typically like to do is record the audio in three stages.
The first one - three stages -
The first one is the 'Master Take.'
Here I shoot the entire action from a tripod,
and come as close as possible with the microphone to the subject.
And you might think, "Now your microphone is in the frame, Jordy."
Well, no worries.
When I'm done, I let the camera roll and ask everyone to step out of the frame.
This is my empty shot which I can place on top of my action shots
and draw with a mask inside Premiere Pro, or any other editing software, over that boom mic.
And Bada-bing, Bada-boom, the Boom is gone.
[laughs at own joke]
The second type of shots are gonna be the close-ups while the camera is moving.
Now this time, you don't want to come into the frame with your mic.
However, since the camera is close on the subject,
you also have some room with the mic to come closer.
And here's a little extra tip that I got from Deity, you know, if you have your microphone right here,
Grab some very vibrant tape such as green,
and just wrap that around the mic like this.
So this way, whenever you do get into the frame with your mic,
the cameraman will see it much clearer than if you would have like a black mic coming into the frame,
and that way the camera guy can yell at you instead of the editor during the post-production.
So a really good tip guys and I'm gonna leave a link to Deity's YouTube channel in the description below.
Personally, I think it's the best audio tutorial channel out there.
They have some really good tips. And that is not because they're sponsoring.
I really mean that guys.
And also, I'm gonna leave a link to all these products here in the description below.
So we've got a 'Master Take' and 'Audio during the Close-ups'
but there's one last audio recording that we're missing and that is Foley.
There are always shots where you're unable to record sound such as in long shots where
you can't really hide the mic, or specific actions that don't really have good sounds when recording it for real.
Now to give that some more context we edited the video,
and one of the shot is where Kevin pulled off his T-shirt.
And sounds for these kind of shots need to be recorded afterwards.
In other words: Foley.
The great thing about this is, that in most cases, you don't need to subject anymore.
So you can do this afterwards and I would even suggest to do this after the edit is complete,
so that you have a better sense of the audio that needs to be recorded.
And for that shot-
Why am I even holding this mic?
So for that shot where Kevin pulled off his shirt,
I simply recorded the sound of me pulling on a cloth.
Now just like with video, guys, you don't need to just throw your audio into a timeline and export it.
There is some post-production work to really get the most dynamic out of your audio.
And so, I have three super simple tricks that you can do starting with 'Stereo Mix.'
Most microphones are mono meaning that they only record one track,
and you might see two tracks from your camera or recorder but that's simply the same audio signal,
so you end up with two mono tracks.
Now inside Adobe Premiere Pro, or basically any other editing program, you can find a 'Pan' option
for your audio which means that you can pan the audio from the left to the right, or from the right to the left.
And you can create key frames for that option, having the audio any made from one side to the other.
So if you match that with a specific action, it'll sound really cool.
The next one is pitch shifter, a very simple effect which allows you to change the pitch of the audio,
and very often contact sounds, like breakdancing doesn't really sound deep enough.
So that's where I tend to lower the pitch.
And sometimes I would even animate the pitch, for example, when time remapping your shots.
It's really cool to let the pitch of your audio go down as your clip goes into slow motion.
But be aware, guys: this only works with contact sounds not with voice.
Voice will sound really weird when pitched.
Tip Number 3: under 'Essential Sound,' when choosing dialogue, you can set up a reverb to your audio.
If you like to have a very hard reverb like 'Church' and increasing it all the way,
a lot of your frequencies will get lost.
You see that doesn't sound super great.
So to fix that, I duplicate my audio clip and set it reverb to only one of them.
Playing around with the volume of the clips, you can mix them better together.
And this way, you are retaining all of the frequencies, but still have that awesome reverb.
And, having seen that last result, let's have a look at the entire edit now without music.
Notice how the sound design almost becomes the music.
[awesome breakdancing]
[exerts dominance with a T-pose]
And that was it for this video, guys.
Thank you so much for watching.
Thank you Deity for the support.
Guys check out these great products and also their YouTube channel.
Thank you guys for watching.
I already said that.
Oh, yeah, and as always,
Stay creative.