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Audio Artist On The Making Contents Of Futurama Features

76 BIG SOUNDS FROM THE SMALL STUDIO Emile D. Menasché talks about creating the score for Incident in New Baghdad By George Petersen

80 BREAK FREE OF THE DIN Sound-restoration software for production noise problems By George Petersen

86 AUDIO ANIMATION Futurama Series Editor Rescue & Restore Paul D. Calder shares the challenges and triumphs of audio production for the show By George Petersen Damaged Audio Departments

70 NEWS & VUS: Software solutions Useful information sound that will save your pros need to know dialogue and 72 EQUALIZERS: background tracks New gear to give you an edge 84 INSIDE TRACK: GET CLEAR SOUND Essential accessories for location recording will prepare you to shoot anywhere By George Petersen Cool Mics & Hot Equipment! See Page 72 SPECIAL SECTION VISIT US AT NAB (CineSoundPro I News) CENTRAL HALL #C2632 News & VUs Useful information sound pros need to know | By George Petersen

15 YEARS OF SILENCE FOR ADR, STUDIOS AND VOICE-OVERS This year marks the 15th anniver- sary of VocalBooth.com, a leading supplier of portable, modular sound rooms, studios and recording booths. The company was founded by singer- songwriter Calvin Mann, who want- ed more control and sound isolation for his recordings, so out of this need, he created his own modular sound VocalBooth™ room—the first VocalBooth™. modular sound Modular and portable by design, rooms can be moved and VocalBooth can be moved, re- easily modified arranged and upgraded when nec- or upgraded as essary—unlike hard-built booths. the need arises, The first models were 4x4-foot units. and they’re The line later expanded to include available in a number of sizes. units up to 16x16 feet, custom ACTION. heights and a wide range of options, MKH 8060 Short Shotgun Microphone including choices in woods, single/ double-wall designs, windows, AC Today, the missing link to great pro- feature, which blends the audio out- venting, non-parallel walls, interior/ fessional and home-based recording puts of both receiver channels in a exterior colors, lighting and even and broadcasting is often the quality seamless manner to produce a single ceiling-mount mic booms. of sound isolation.” audio output, which leaves the cam- Capturing the Moment. “Film and television is a great era’s other audio input available for QUICK TIP: market for us due to the controlled an on-camera mic feed. “On this job, For feature film, documentary or ENG, the new MKH 8060 delivers recording environments our booths DUAL FEED EASES I was sending a mono mixdown track top quality sound to complement your exciting visuals. provide for ADR and voice-over,” ON-THE-FLY GRAB SHOTS to the right audio track of the camera says company president Mann, A location sound mixer who works and let the camera mic fly on the left adding that Emmy®-winning film/ extensively on documentaries, com- track,” Israel explains. “That way, if Compact, rugged and reliable, the MKH 8060 features a TV sound veteran Joe Foglia of mercials and other short-form proj- there was B-roll or the DP/camera symmetrical RF condenser design and short interference tube that Southeast Audio Services uses a five- ects, Matt Israel‘s most recent assignment op went off to shoot something on suppresses off-axis sound without coloration, producing extremely sided 10 Carat Diamond Series was recording dialogue for Unwasted his own, he still had some ambient/ natural and detailed results. VocalBooth for his ADR work. Weekend, a short-form anti-drug cam- reference sound to work with.” “Shows like Cougar Town, Castle and paign program aimed at teens. Scrubs have used VocalBooths for His all-Lectrosonics RF rig included QUICK TIP: Ideal for boom pole and camera mounting due to its compact size, several seasons.” SM (super-miniature) and UM400 THE AIFF-TO-WAV the MKH 8060 is Sennheiser’s first short shotgun to interface Adds Mann, “Video and pro audio transmitters, UCR411a receivers and CAPTURE TRICK directly into digital systems via the MZD 8000 digital module. equipment may be advancing at light an SRa dual-channel ENG receiver, with This isn’t so much a trick as just a speed, but what does not change is the latter mounted onto a Sony F3 way of retaining some of my sanity www.SennheiserUSA.com the desire to control the recording video camera. during a hectic edit session. I have an environment. There will always be Israel was impressed by the audio especially fond regard for this when unwanted interference and noise, and performance and rugged build qual- I’m exporting a lot of short sound clips as recording and video systems ity of Lectrosonics’ Digital Hybrid Wire- out of Final Cut Pro (my editor of become more sensitive, so does the less units. However, he also spoke choice) and into some audio DAW for need to reduce ambient intrusion. highly about the SRa receiver’s ratio (Cont’d on page 134) MKH 8060 Short Shotgun Microphone 70 I HDVideoPro Equalizers (CineSoundPro I New Gear To Give You An Edge) BRING ON THE MIXERS! Azden announces two new location mixers. Designed for DSLRs, ™ 2 DAW plays nice the FMX-DSLR runs on four AA batteries and attaches directly to a camera or tripod. It offers two XLR mic inputs with individual level tudio One controls, switchable phantom power, stereo minijack mic input, minijack line input, a switchable AGC circuit, stereo miniplug mic with video editing programs. output and headphone out, LED peak level indicators, and an input S return function (RTN) to monitor camera audio. The FMX-32a uses the same circuit topology as the FMX-42 mixers, and it can attach directly to a camera, or it can be neck-worn with an optional carry case. It has three XLR mic inputs, each with level controls, LCR output routing, and switchable phantom power and limiting. Out- 1 puts are stereo XLR and minijack, and ⁄4-inch headphone jack. Power is via six AA batteries or external 12VDC. Estimated Street HOT SHOTS Price: $299 (FMX-DSLR); $449 (FMX-32a). Contact: Azden, (516) The FR-310 Hot Shoe Shotgun Microphone has a stan- 328-7500, www.azdencorp.com. dard hot-shoe mount for your camcorder or DSLR. The mic features three gain settings to match close- in or distant work, a 150 Hz bass roll-off switch to reduce rumble, and an integrated foam windscreen, and operates up to 500 hours on a single AAA bat- 1 tery. Output is a mono TRS ⁄8-inch plug. Estimated Street Price: $129. Contact: MXL Microphones, (310) 333-0606, www.mxlmics.com.

THE LOW, LOWDOWN KRK Systems announces two new powered subwoofer systems. Designed for high-level appli- cations, the KRK 12sHO has a 12-inch, high-excursion, woven Kevlar cone driver on a curved front baffle designed to eliminate diffraction distortion. The integrated 400W RMS power amp delivers 113 dB SPLs with 123 dB peaks and integrates into any existing monitor system via WXGLR2QHLVWKHGLJLWDODXGLR ,PSRUWYLGHRMXVWE\GUDJJLQJ download a a dedicated LFE input (with variable 60-160 Hz crossover) or the built-in high-pass filter that S ZRUNVWDWLRQWKDWłVFXUUHQWO\ PRYłVWRWKHLQWHJUDWHG4XLFN7LPH routes upper frequencies to the main monitors. Also standard are XLR/TRS balanced inputs, LFE FREE ZKXSSLQJEXWWRQWKHROGVNRRO YLGHRSOD\HUIURP6WXGLR2QHłV input gain, XLR outs, subwoofer bypass footswitch jack, connection, phase reverse switch and vari- VWHHSOHDUQLQJFXUYHSURJUDPVOLNH EXLOWLQEURZVHU Ŗ Ŗ 3HRX XL OFUQF,F$O5JW HHYG WGR2HL UGPU I3UH6RQXV RI WUDGHPDUN D LV 2QH 6WXGLR 5HVHUYHG 5LJKWV $OO ,QF (OHFWURQLFV $XGLR 3UH6RQXV ŕ  able phase adjustment. Intended for smaller spaces, the new KRK 12s matches a 12-inch Kevlar cone $SSOH RI WUDGHPDUN UHJLVWHUHG D LV /RJLF $YLG RI WUDGHPDUN UHJLVWHUHG D LV 7RROV 3UR 6RIWZDUH/WG demo 3UR7RROV  /RJLF DQG&XEDVH ([WUDFWDXGLRLQVWDQWO\ woofer to a 240W power amp for 110 dB music/119.5 dB peaks. It integrates into existing systems similar to the 12sHO and has ,I\RXGRDQ\DPRXQWRIVFRULQJ 6HW9LGHR2IIVHWLQFOXGLQJ)UDPH XLR/TRS/RCA inputs/outputs, a -30 dB to +6 dB level adjust, subwoofer bypass and phase reverse switch. Estimated Street Price: 6WXGLR2QH3URIHVVLRQDO 6NLS0XWHDXGLRHPEHGGHGLQD $1,499 (KRK 12sHO); $799 (KRK 12s). Contact: KRK Systems, (954) 949-9600, www.krksys.com. HWH Q%WQ5XHGUQ USUWR IWL G  X GDR ZLQWHU RI LGHD RXU Ō ij DG WKLV RI SUHSDUDWLRQ GXULQJ 5RXJH %DWRQ LQ :HDWKHU GHVHUYHVDVHURXVORRN YLGHRZLWKRQHFOLFN ,WKDVDVLQJOHZLQGRZ 'RZQORDGDIUHHGHPRYHUVLRQRI LQWXLWLYH*8,WKDWGRHVQłWJHW 6WXGLR2QHDWSUHVRQXVFRP V LQWKHZD\RI\RXULQVSLUDWLRQ DQGGLVFRYHUMXVWKRZSRZHUIXODQG CLASSIC SOUNDS FOR DOWNLOAD DQGFUHDWLYLW\ \HWHDV\WRXVHDQH[WJHQHUDWLRQ Stockmusic.com, the music and sound-effects download division of Sound ,WUXQVLQELWPRGHDQG GLJLWDODXGLRZRUNVWDWLRQSURJUDP Ideas, now offers individual downloads of sounds from the Hanna- LVWKHRQO\'$:ZLWKEXLOWLQ FDQEH Barbera Sound Effects Library. Available are more than 2,500 effects from 0HORG\QHSLWFKFRUUHFWLRQ legendary cartoons like The Flintstones, Huckleberry Hound, Yogi Bear, The Jetsons and other HB shows—all digitally remastered. The entire library is also available on CDs from Sound Ideas. Estimated Street Price: $4.99 per individual download. Contact: www.stockmusic.com.

ZZZSUHVRQXVFRP Vō%DWRQ5RXJH86$ 72 I HDVideoPro JUMP HEAD (CineSoundPro I New Gear To Give You An Edge) JUMP HEAD (Cont’dEqualizers from Page 00) X-Y FOR DSLR The Apex 177 camera-mount mic routes two cardioid condenser 1 capsules to a standard ⁄8-inch miniplug cable for use with most TIME CODE ON LOCATION camcorders and DSLRs. The mics are in a coincident X-Y stereo pattern and can be switched for a narrow 90-degree field or wide The GR-2 SMPTE/EBU generator/reader has a 120-degree field. Power is via an onboard 3-volt CR2 battery, and two-line, 12-digit LCD readout showing time code/ the mic ships with carry bag, battery and integrated foam wind- user bits, mode and rate. It generates 23.976, 24, screen. Estimated Street Price: $89. Contact: Apex Electronics, (716) 25, 29.97, 30 drop and non-drop rates, and reads 297-2920, www.apexelectronics.com. at normal operating speeds. Features include jam sync to external code, cross jam different code HI-FI/LOW PROFILE rates and internal/external TC delta comparison. The A77X self-powered monitors are now For music playback with live-action recording, shipping. Perfectly suited for under-screen it can insert ex- DP DOES WINDOWS use, this 3-way system has two 7-inch ternal TC into Digital Performer 8, a major upgrade to MOTU’s flagship DAW software, drivers, one for midrange and one as a the user bits will be available in 32- or 64-bit mode on Mac OS X and Windows 7. subwoofer, each with 100-watt amps. of the current New features include Win VST/Rewire support, Punch Guard™ confidence Highs are handled by a folded ribbon internal time recording, new user-interface themes, 15 additional effects plug-ins and tweeter and 50-watt amp providing 38 code. It runs an improved video-playback engine that allows full-screen viewing of 720 Hz to 50 kHz response and 122 dB peak on 6-18VDC or 1080 HD video clips on a primary or secondary monitor, or on a con- SPLs. Each 9.5x21x11-inch cabinet weighs or two AA batteries. ventional HDMI/SDI video monitor connected to a MOTU video inter- 28.2 pounds. Estimated Street Price: Estimated Street Price: $800. Contact: Denecke, face such as the HD Express or HDX-SDI. Digital Performer 8 ships Spring $1,399/monitor. Contact: ADAM Audio, (661) 607-0206, www.denecke.com. 2012; pricing is TBA. Contact: MOTU, (617) 576-2760, www.motu.com. (516) 681-0690, www.adam-audio.com.

74 I HDVideoPro April 2012 I 75 (CineSoundPro)

BIG FROM THE SMALL Sounds Emile D. Menasché talks about creating the score for Incident in Studio New Baghdad BY GEORGE PETERSEN

Incident in New Baghdad, the 2012 Oscar®- Suffering post-traumatic stress disorder (PTSD), McCord is nominated documentary short by director James Spione, denied psychological treatment in Iraq for the condition. focuses on the experiences of U.S. Army Specialist Ethan Returning home, he struggles for years with anger, confusion McCord, whose life was forever changed when he witnessed and guilt over the war. When WikiLeaks released the shocking the July 2007 slayings of civilians and two Reuters correspon- gunsight camera video of the incident in 2010, McCord began dents by U.S. combat helicopters. McCord also rescued two traveling the country, speaking out for the rights of PTSD suf- Iraqi children caught in the crossfire. ferers and against the American wars in the Middle East.

76 I HDVideoPro BIG SOUNDS FROM THE SMALL STUDIO had worked with the director on sev- several years ago on a previous docu- eral earlier projects. “We recorded the mentary, God’s Open Hand, which cov- soundtrack in my home studio using ered the Afghan elections. CREATING a combination of Ableton Live and Interestingly, a key aspect of this THE SOUNDTRACK Apple Logic Pro.” approach involved no technology at Emile D. Menasché is the author of As the story involves an American all—just a little creative experimenta- books such as The Desktop Studio and soldier in Iraq, the music reflected both tion with alternative tunings. Moving Home Studio Clinic. He describes how cultures. “We didn’t have indigenous the G and B strings of Menasché’s guitar the score of Incident in New Baghdad instruments, so I had to adapt classical to A tuning put half of the instrument’s came together. “I worked closely flute and guitar to sound more Middle six strings set to an open A note. The net with producer/director James Spione Eastern,” says Menasché. In this case, he result here was to create a very non- on the soundtrack—it was a real col- returned to modifying guitar tracks, a guitar-sounding dissonance, almost like laboration,” explains Menasché, who technique he had discovered working the effect of an instrument with drone strings, like a dulcimer, sitar or the Middle Eastern oud. According to Menasché, “A lot of the DENECKE, INC... final cues came from improvised flute phrases, played by my daughter Rebecca. For all your time code needs I had her play both melodic parts and beds, then used Live to change their pitch and texture to create a blend between natural and digital sounds.” Menasché chopped up a lot of that material and also used Live’s pitch- manipulation ability to create new melodies. The more melodic parts were used in scenes showing Iraqi children playing, while some of the more digi- tally altered sounds that were heavily reverberated and pitch shifted came in use as elements that were almost more DENECKE, INC. sound effect in nature, rather than as a 25030 Avenue Stanford, Suite 240 traditional score. Valencia, CA 91355 (Cont’d on page 135) Phone (661) 607-0206 Fax (661) 257-2236 www.denecke.com Email: [email protected]

Incident in New Baghdad tells the tale of a single tragic incident and how it led to a greater understanding of the wider effects of war. OPENING PAGE: Incident in New Baghdad composer Emile Menasché in his studio. ABOVE: U.S. Army Specialist Ethan McCord, while on duty in Iraq.

078 0 II HDVideoPro M o n t h 2 0 1 1 I 0 0

 CineSoundPro Pyramix, Magix Sequoia, Soundscape ground noise. www.cedar-audio.com ( ) R.Ed/16/32 and Steinberg WaveLab Known for its extensive mastering, and as a standalone app on Windows restoration, analysis and surround- systems (XP/Vista/7). It loads and sound Virtual Precision Instruments Sound-restoration analyzes a selected audio passage, dis- (VPIs) for its AudioCube multichan- software is the played as a color-coded 3D spectro- nel DAW, Cube-Tec also markets gram to visually isolate and remove RTAS versions of its VPIs for Avid Pro antidote for production problem spots, and the removed por- Tools OS X users. These include noise problems tion is replaced by a signal re-synthe- DeBuzz, Spectral DeHiss Expert, sized from the surrounding material. DeScratcher, DeCrackler, DeClipper BY GEORGE PETERSEN The software offers automatic click/ Sound Forge Pro 10 and RepairFilter, which is a cinema- spike detection and the identification of dialogue noise suppression for rumble, style notch filter, and all but the tones and harmonics. Also offered is hiss, whistles, babble and general back- latter are also offered for the Magix easyreNOVAtor, a simpler version with fewer controls and more presets ($1,249). www.algorithmix.com The Avid Intelligent Noise Reduction plug-in for Pro Tools ($899) reduces broadband noises such as air-condition- WIRELESS AUDIO for VIDEO ing rumble, tape hiss or guitar amp buzz. No word on an AAX version, but The Azden 310 Diversity Series iZotope RX2 the TDM version runs on Windows and Mac Pro Tools HD and HD Accel rigs, as well as AudioSuite for PT LE systems. Recording audio on location presents a www.avid.com tough environment for capturing dialogue. Peak Studio ($599) and Peak Studio Wind sounds, clothing rustle, impacts, BREAK FREE XT ($1,199) from BIAS are editing/ EMI/RFI noise and distracting background mastering/restoration suites for the OS X sounds are just a few of the problems that of platform. A new de-clipping tool restores may attach to your precious tracks. clipped recordings using advanced spec- Fortunately, there are a variety of cutting-edge tral repair algorithms. Both packages software solutions that provide a remedy. the include SoundSoap, SoundSoap Pro and Restoration tools just keep getting better, Master Perfection Suite plug-ins; the XT with many offering algorithms that can intel- DIN edition extends their compatibility to ligently seek out and eliminate glitches like third-party AU, RTAS/AS and VST host pops and clicks. Others also provide simple graphics-based Noise Reduction for noises that change over time, such as buzzing, applications. Also available separately (for interfaces that highlight the soundfield as a brightly colored whining and fan/aircraft sounds. The Spectral View offers visual OS X and Windows), SoundSoap Pro 2 spectral display, where the user can clearly view any problemat- indications of problems, with an Audio Healing Paintbrush for offers intelligent adaptive noise reduction ic noise event—such as a distant car door slam, loud footsteps repairing problems like clicks, pops and random event noise. Also with four restoration tools in a single The Azden 310 Series Ultra Performance Diversity Wireless System includes: or a chair squeak—to be marked and removed. included is automatic phase correction, de-Hummer, de-Clip and plug-in, including advanced controls for Here’s a look at some current products in the form of stand- a Speech Volume Leveler. www.adobe.com eliminating unwanted artifacts. On a • DSLR and Video Camera Compatibility alone applications, as well as plug-ins that operate in your OS Algorithmix’s reNOVAtor restoration suite ($3,199) is offered budget? Check out Peak Studio LE • Diversity Single Channel Receiver X- or Windows-based editor. Several of the companies we spot- as a plug-in for Pro Tools HD/Mix/LE (OS X and Windows), ($129), with a version of SoundSoap, the • 88 User Selectable UHF Frequencies light here are exhibiting at the 2012 NAB show, where you can Reveal audio analysis suite and other edit- • LCD multi-function display see them firsthand. Alternatively, some products are also avail- ing/restoration tools. www.bias-inc.com • Mini and XLR output cables able as downloadable limited-time/function demos for you to CEDAR Audio’s new CEDAR Studio is • Hard shell carrying case try out at your own pace with your own system. a set of RTAS and AudioSuite plug-ins for Available system combinations include: With all this power, now is a good time to consider adding Mac and PC Pro Tools HD and LE sys- 310LT, 310LH, 310LX, 310HT, 310XT some sonic restoration tools to your arsenal. tems, all selected from the company’s Visit the Azden website for system details. flagship Cambridge system. A loudness THE CONTENDERS maximizer with advanced resampling and noise-shaping capabilities, the Carrying case Adobe Audition CS5.5 ($349) runs natively on OS X v10.5/10.6 included or Windows XP/Vista/Win 7. Besides an improved audio engine included Adaptive Limiter constrains with greater speed, Audition CS5.5 offers round-trip passing of the peak output level while retaining files directly to/from Adobe Premiere Pro CS5.5 and OMF the integrity of the input. Declip is a sin- ® import/export for transfers to Avid Pro Tools and file sharing to gle-pass declipper, Debuzz handles other video NLEs via XML interchange. In addition to multi- buzzes and hums, and DNS One offers www.azdencorp.com channel record/edit/mixing (stereo or 5.1), Audition has Adaptive WaveLab Spectrum Editor the same Academy Award®-winning

080 0 I HDVideoPro MonthApril 2011 2012 II 081 0 BREAK FREE OF THE DIN easy-to-use interface with multiple presets, tent) or Type D (timbrally matched con- in-one clean-up tool. www.wavearts.com multiband processor for fast broadband an Audio Cleaning Wizard and spectral tent, optimized for voice), decrackling, Waves’ Restoration has five noise- (constant or modulating) noise suppres- Sequoia platform. www.sascom.com analysis to handle audio problems such and broadband DeNoise and hiss reduction tools: Z-Noise (dynamic noise sion on dialogue tracks. The WNS plug-in iZotope’s RX2 ($299) and RX2 as camera noise, wind/background din, removal. NoNoise II FR ($1,395) adds reduction with transient preservation), is offered for TDM ($800) and Native Advanced ($1,099) operate as standalone hum/buzz, clipped waveforms, over- Type C (pitched) declicking, broad- X-Noise (tape hiss/computer/air noise ($600) systems. Inspired by Dolby’s clas- apps or plug-ins for Pro Tools 7 and sibilant vocals and more. www.magix.com band stereo DeNoise and Algorithmix handling), X-Hum (harmonically linked sic Cat. 43 hardware playback noise- above (RTAS/AudioSuite), as well as VST, Established as the pioneering system reNOVAtor-LE processing. The full- notch filters for ground loop hum and reduction tool, Waves W43 focuses on MAS, AU and DirectX—for OS X 10.5 or for OS X-based noise restoration, package NoNoise II SR ($2,995) adds low-frequency rumble), X-Click (de- ambient noise issues such as hum, hiss, higher or Windows XP/x64/Vista/7. Both NoNoise has received Grammy®, Oscar® mono/stereo/multichannel DeNoising, clicker) and X-Crackle (de-crackler). traffic, wind and air-delivery systems, include new visual editing features and and Emmy® awards. Now Sonic Studio’s stereo declicking, expanded decrackling Restoration is offered for TDM ($950) or with simple fader control of four noise- functionality such as the Magic Wand, latest incarnation, NoNoise II, is avail- and the ability to run as an AU plug-in. Native ($825) systems, OS X or Windows. suppression bands. W43 is $200/TDM, Lasso and Brush tools designed for select- able in three versions. NoNoise II FX www.sonicstudio.com CEDAR Audio Adaptive Limiter Designed for post professionals, the WNS $150/Native; it’s included with Waves’ ing audio in the product’s spectrogram, as ($495) offers detailed FFT viewing, man- Evolved from Sony’s Oxford technolo- Waves Noise Suppressor is a real-time Mercury bundle. www.waves.com well as Denoise, Spectral Repair, Declick, ual declicking in Type B (for general, gy group, the now-independent Sonnox Powered Plug-ins platform in the near Declip, Decrackle and Remove Hum non-harmonic or mixed spectral con- Ltd. offers a range of serious studio tools. future. www.sonnoxplugins.com modules. RX 2 Advanced extends the Its Restore suite ($1,895) includes three Offering audio editing/restoration/ toolset with an adaptive Denoiser mode, plug-ins—Oxford DeBuzzer, Oxford enhancement tools, as well as music loop a Deconstruct module, automatic DeClicker and Oxford DeNoiser—for the production, sound design, CD mastering azimuth correction, third-party plug-in removal of pops, scratches, clicks, crack- prep and a host of other features, is Sound hosting, 64-bit SRC resampling, MBIT+ ling, hum, buzz and background noise. Forge Pro 10 ($399) from Sony Creative HD Audio for Video dithering, iZotope Radius time/pitch con- Each plug-in in this Native (RTAS, AU and Software. This Windows (XP/Vista/Win7) SGM-2X trol and a multi-resolution Spectral VST) suite has a two-step approach, where application also features multichannel Repair mode. www.izotope.com a detection section pinpoints unwanted audio recording, spectrum analysis, multi- Priced at $59, Magix’ Video Sound noise followed by a removal section that channel Windows Media File support, 5.1 Cleaning Lab is a standalone app for determines the necessary repairs with Dolby Digital AC-3 export and Noise Windows XP/Vista/7. Audio/video files minimal collateral damage to the original Reduction 2.0; the latter is a suite of audio SGM-1X can be imported/exported in most stan- audio. Recently, Sonnox announced it will restoration, click/crackle removal and dard formats, and the program features an Waves’ Waves Noise Suppressor add support for Universal Audio’s UAD-2 clipped peak repair tools. SoundForge Pro SGM-1000 10 also ships with iZotope’s Mastering Effects Bundle 2, 64-bit SRC sample-rate SGM-X conversion and MBIT+ bit-depth dither processing. Also offered is Noise Reduction 2.0 ($279), a DirectX plug-in Elevate Your Audio suite with four plugs for clipped peak repair, vinyl restoration, click/crackle SGM-PDII “Using Roland  eld recorders instead of my camera’s removal and general hiss/hum/rumble. audio is like cable modem vs. dialup. Roland  eld www.sonycreativesoftware.com Steinberg WaveLab ($499) offers recorders are the cleanest I’ve ever used”. From top to bottom stereo and multitrack editing, 24-bit/ Adam Forgione, R-44 owner and At under 16" long the super directional SGM-2X is great on boom poles or large body cameras. internationally acclaimed 384 kHz resolution, 64-bit floating- HDSLR event  lmmaker. point precision and a suite of 30 stan- A short barrel for omni operation, 2 windscreens and shock mount holder are included. dard plug-ins, including Sonnox VST3 At under 12" long the SGM-1X offers all the great performance of the SGM-1000, but works DeNoiser, DeClicker and DeBuzzer on battery power only. Comes with a shock-mount holder and windscreen. restoration suite. This OS X 10.6 and The 8.5" high-performance SGM-X is a complete system. Includes windscreen, NAB Booth# C4345 Windows 7 application offers powerful shock-mount holder, battery and mini plug output cable. Ideal for DSLR's cameras. mastering and batch-processing, and full Wide frequency response, low noise and super directional, the SGM-1000 operates surround audio handling, with up to 7.1 on 12-48V phantom power or 1 "AAA" battery. A windscreen and shock-mount channel support. www.steinberg.net holder are included. Wave Arts’ Master Restoration Suite A high performance microphone for today’s HD camera's. The SGM-PDII operates NEW ($399/download) is a comprehensive only on phantom power (11-52 VDC) supplied by the camera. Great sound, The Roland R-26 Field Recorder set of restoration plug-ins that runs directional pick-up, windscreen and shock mount holder all included. provides six simultaneous channels Also available from Roland: of pro-quality audio recording to within any OS X (AU/VST/MAS/RTAS)- SD/SDHC media. With two types of or Windows (DX/VST/RTAS)-based built-in stereo mics, XLR/TRS combo inputs, and USB audio interface DAW application. It includes MR functionality, the compact R-26 is Noise broadband noise reduction, perfect for videographers who want ® to elevate their sound quality to the R-4Pro R-44 MR Click click/crackle filter, MR Hum level of their HD video. 4-channel Portable 4-channel Compact buzz/hum removal, MR Gate expander/ Recorder with Timecode Portable Field Recorder www.azdencorp.com www.rolandsystemsgroup.com/r26 gate and the Master Restoration all-

82 I HDVideoPro April 2012 I 83 I JUMP HEAD (CineSoundPro Inside Track) Wombat, RØDE Dead Cat/Dead Kitten/ foot cable, possibly with right-angle (Cont’d from Page 00) Dead Wombat, Rycote Softie and connectors, is a better choice. XLR cables Windjammer, Sennheiser Wind Muff carry the extra advantage of being able and WindTech Mic-Muff. to function as both a single cable and as Get Clear Sound an extension. But when I’m working 1 CABLES: THE LONG with a rig with ⁄8-inch inputs, I also AND THE SHORT These essential accessories for location recording will have you The Pearstone LMT100 always pack a few shielded extension lets you connect an XLR A few extra cables in different lengths cables. The latter can function both as a By George Petersen prepared to shoot anywhere | microphone to a camera or can make your life easier. Not only is it way of getting that short-cabled camera 1 DSLR with ⁄8-inch mic inputs. prudent to pack a spare cable or two, but mic closer to the action and extending Doing a successful location shoot, having an eight-foot cable connecting the length of my headphones so I can no matter how simple, requires having has a -15 dB pad switch; the Sennheiser your onboard shotgun to your camera move more freely while still monitoring the right gear, but also some careful takes it a step further, with a switch- can be a bit cumbersome, when a two- the action. advance planning. Murphy’s Law— able -10/-20 dB pad and 80/140 Hz low- ”whatever can go wrong will go cut filters. wrong”—tends to crop up with some regularity in any situation in life. SWIVEL YOUR MIC Yet somehow, when the words “loca- An on-camera mic is convenient and tion production” and “low budget” often gives good results when it actually Ask any cinema sound pro are added to the equation, our nem- points in the same direction as the lens. esis Murphy definitely will make However, there are occasions—such as an appearance. filming an event or speech where the about wireless mics... Having seen and done it all, pro- sound is coming from a speaker system fessional crews are well aware of this off to the side—when the mic needs to and plan for unforeseen contingen- be pointed in that direction for added cies. They invest in backup systems, clarity. In those situations, a swiveling pack spares of everything and—bar- microphone mount is just the ticket, ring acts of war and major climate such as the Audio-Technica AT8459 or upheavals—they will be equipped to Que Audio QM1, especially when you’re handle nearly any situation. doing a shoot without an assistant. For the DIY camera operator/sound recordist, the road is tougher, but not BLIMP WINDSCREENS insurmountable. Begin your prep with Zeppelin-style mic windscreens com- a checklist of what you need to bring, bine internal shock mounting with an ...and they’ll including not only your gear, but also outer wind barrier. The enclosure is basic additions such as extra batteries, ABOVE: RØDE’s Blimp and somewhat large, yet diffuses high wind tell you: an AC extension cable, gaffer’s tape, Dead Wombat windscreens noise with a natural sound. These are “Lectrosonics is the small notebooks, colored Sharpies®, in action on a blustery day. typically used with a pistol-style hand- RIGHT: ART’s Phantom II Pro most widely used a flashlight, a Swiss Army knife and can supply 48-volt power to grip or boom mount, although models wireless in feature an all-in-one Leatherman®-type tool, two condenser microphones like the Rycote Miniscreen simply slip film production.” and pack them in a separate bag from 9-volt batteries or over a shotgun mic for on-camera use. that becomes your emergency kit. an AC adapter. Examples of full systems include the Exceptional audio quality is Depending on the shoot, I frequently Cavision Windshield, K-Tek Zeppelin, one reason why. also pack a small folding cart to drag (which requires no powering) or con- mixer doesn’t offer phantom power- RØDE Blimp and Rycote Windshield Kit. Optimize your audio and all this stuff from the car to the site (in denser models with an onboard bat- ing, but you don’t have to miss out on raise your wireless standards. FUR WINDSCREENS one trip, so I don’t have to leave any- tery or an external phantom supply. using higher-end pro condenser mics Get the free white paper on 1 thing unattended), a small folding An XLR-to- ⁄8-inch miniplug adapter that require a 48-volt phantom sup- Most mics ship with a removable audio gain structure. table and stool, and an umbrella— with an internal transformer such as ply. A number of companies make foam windscreen. These are great for good for rain or shine. From there, the the Pearstone LMT100 or Hosa MIT- compact modules that operate from “normal” conditions, but sometimes list could increase exponentially, but 156 will do the trick, offering your standard 9-volt batteries with XLR weather gets a little extreme and your here are a few audio accessories that system an inexpensive upgrade. Both inputs/outputs that connect inline mic or blimp screen needs a little extra can make your life easier. models route the mono signal from between your mic and camera/mixer. help. Made of artificial materials, fur- the external mic to both channels of Among these are the AKG B18E, ART style wind muffs can take howling wind lectrosonics.com/agdoc EASY XLR ADAPTERS your camera’s stereo mic input jack. Phantom series, Denecke PS-1A, noise down to manageable levels and

If you’re shooting with a DSLR or Countryman Isomax II Battery Power install easily over your microphone Made in the USA by a bunch of fanatics camera without XLR mic inputs, you PHANTOM POWER Module, PSC 48 Phantom, Rolls or blimp. Available models include can easily start using higher-end pro Your microphone selection is PB224 and Sennheiser MZA14P48U. the Cavision Windscreen, K-Tek mics—either any dynamic model greatly limited if your camera or As a bonus, the Denecke unit also Kwiksock, PSC Windboss, Que Audio

84 I HDVideoPro April 2012 I 85 (CineSoundPro) Futurama Series Editor Paul D. Calder talks about the challenges and triumphs of Shoot audio production for the show BY GEORGE PETERSEN HD Video?

This production still from 2011’s Tron- inspired “Law and Oracle” episode depicts Futurama’s main character Fry after he quits his dull job and joins the police. AUDIO ANIMATION It has often been said that one of the most challenging CineSoundPro: You’re a picture editor, but with Futurama, jobs in audio post is working on animation. This is certainly you’re delving into both image and sound, as opposed to true in the sense that within this virtual world, all the sound working on a large feature project, where the lines may be elements need to be created from the ground up—there’s no more delineated. location dialogue, set walla or organic on-screen elements to Paul D. Calder: Exactly, and with that, it’s very cool that capture, such as would be the case in shooting some particular Futurama starts with a blank slate—there’s a script, but no sound action like a hammer striking an anvil. Yet at the same time, at all, and everything’s built from scratch. And unlike a live- audio for animation provides a wide-open palette for creativity action project, our dialogue comes in pretty clean, and we and the opportunity to create an entire universe exactly as you’d always have the opportunity to go back and rerecord something. like, where the usual rules of reality can be set slightly aside, CineSoundPro: Obviously, working on an animated proj- used as-is or completely ignored. ect is a lot different than working with live action. Can you talk And within that universe of possibilities, few animation a bit about the production workflow on Futurama? NEW projects offer that degree of creative rule bending as Futurama, Calder: It begins with the first dialogue recording, which Matt Groening’s satirical hit series about life a millennium from the cast typically records as an ensemble. Everyone is together NTG8oadcast now. First airing in 1999 and still going strong, this acclaimed in the room at the same time, reading through the script, which ectional multi-award-winning series continues to break new ground is broken down into scenes and shots. The show’s codeveloper Precision Br both in setting standards of excellence and winning legions of David X. Cohen directs the dialogue sessions and will have Highly Dir new fans with each new episode. someone reread a line until he’s happy with it. David has an Shotgun Microphone We spoke to Paul D. Calder, a musician and self-described amazing memory, and will do circle takes on the fly as he’s Get HD Audio. lifelong “audio guy,” who—since Futurama’s first season—has directing. He’ll even break takes down into syllables and words, been the picture/dialogue editor for every episode of the show. wanting this word from this take, or half of this from another. Professional microphones And with the production pace picking up, Calder was joined by He’ll do that for a full script as they’re reading, but for the most second editor Chris Vallance, who came on last season and has part, the cast reads through each scene as an ensemble. When it & accessories for all broadcast applications. been with the show since. comes back to me, we break it down.

86 I HDVideoPro NTG1, NTG2, NTG3, NTG8 shotgun microphones, Boompole, Blimp and WS7 Deluxe windshield pictured. rodemic.com

  AUDIO ANIMATION minutes before it goes to the rerecord mixer, we’re still tweaking stuff, which All of this makes a good start. We’ll saves a lot of time on the mix stage. pull all the circle takes and assemble Once we’ve locked in that radio play, that with some good effects and a temp it goes to our storyboard artists. It’s HONEST VOICE music bed and create a pretty good much more cost-effective to do a story- Ask this legendary facility owner why he uses KRK and “radio play” from that first dialogue board pass with the conceptual ideas of you will get an honest answer... record. The timing is fairly close to what the animation director, rather than appears in the final show. That becomes going straight to animation. Once the our template, even though a lot of the storyboard pass is done, we’ll do an ani- sound effects and all the music—for the matic pass. At that point, they’ll do a most part—are temp elements. We’ll rewrite and go back in the studio to build that, and then, even up to the record some new lines and punch up

Matt Groening created this portrait of Futurama editor Paul D. Calder—complete with motorcycle helmet and long hair—as one of the show’s famed “head in a jar” characters.

the comedy. Then David and I will lock down the final storyboard animatic, which goes to Rough Draft Studios, and that’s what they animate to. CineSoundPro: How much produc- tion is done on the 20th Century Fox lot? Calder: The dialogue tracks are recorded at L.A. Studios in Hollywood. Rough Draft—our main animation stu- dio—is in Glendale, Calif. And the in- between, hand-drawn animation is done by Rough Draft Korea. The rest of us are all on the Fox lot, where Matt Groening has an entire corner of the lot for his pro- "We use KRK headphones for critical listening and QC. When we do our eld or Foley recording we might think we’re creating the best crash e
ect in the world, but without accurate headphones I can't tell how it really sounds going to tape. duction staff and bounces around The cool thing about KNS8400 headphones is I can trim volume real quick on the y, the isolation is terric and they're between working on The Simpsons and :+$7$5(<283/8**,1*,172" comfortable enough to wear all day." Futurama. And after doing the show since 1998, we’re all pretty close. Tim Borquez If You’re Trusting A Power Strip To Protect Your Gear, CineSoundPro: Hacienda Post Is Groening very Sound Supervision and Audio Post Clients include Cartoon Network, Disney Animation, Disney Theme Parks, Warner Brothers and Nickelodeon. You Could Be In For A Big Surprise. hands-on? Recognized with 7 Emmys and 6 Golden Reel Awards. Trusted by A/V professionals for over 35 years, Furman provides AC protection and noise Calder: Absolutely. In fact, I spent fIltering to ensure your gear will provide maximum performance and longevity. the first entire season of Futurama with Matt, cutting dialogue to assemble the KRK headphones and monitors are legendary for their honest voicing, accuracy and transparency. radio plays for each episode. After that, I Looking for a studio reference headphone that you can trust your recording to? was working more with head writer Isn’t it time you listened to a legend? David X. Cohen. Interestingly, that was the first time either of them had worked on a nonlinear editing system. And that’s how I got the job, because I wasn’t afraid of using the Avids to do animated Trusting a standard power strip shows, and they wanted something that to protect your gear? Most surge was more high-tech, modern and with- suppressors are not equipped to handle sustained over-voltage conditions. out preroll. At the time, the other shows Exposé VXT Series Rokit Series KRK SubwoofersERGO KNS Series See the demo at : at Fox were done using tape-to-tape and www.furmansound.com/youtube 3 laserdisc systems, going to ⁄4-inch.

088 0 I HDVideoPro Month 2011 I 0 0 Record. Mix. Monitor. Enjoy. www.krksys.com AUDIO ANIMATION limited to 24 tracks, so once final color grab some funny sounds. Interestingly, is locked, I prepare the tracks for our we’ve discovered some music on Travis Powers is the sound designer for remixer, Peter Cole. Each of the charac- YouTube and iTunes. One episode has Futurama—and The Simpsons as well— ters will get his or her own dialogue the main character Fry watching after an and ultimately he has the final pass on all track. If time compression is used on egg and keeping it from breaking, like a the sounds. We live with the temporary some lines, I’ll also give him the original mother hen. I went on iTunes, did a soundtracks here for months at a time, lines with handles, remove the effects, search for “egg” songs and found a great and the producers often fall in love with and output AAF files. Peter has a huge tune from an unknown Australian band. them by the time it reaches the mix stage. Pro Tools rig. He’ll open up the dialogue It started out as a temp, but made it into © 2011 B & H Foto & Electronics Corp. & Electronics Corp. © 2011 B & H Foto JN110842 So the final episodes end up being a com- AAFs, add the sound design from Travis the final show, and they got paid. bination of the new and the old stuff. Powers, music from our composer CineSoundPro: As a picture editor, CineSoundPro: What’s your audio Christopher Tyng and do all the final what kind of things on the audio side editing platform? mixes. He does stereo Lt/Rt and 5.1 sur- make your life easier? Calder: I use Avid Media Composer. round mixes at the same time. Calder: L.A. Studios uses Pro Tools COMPUTERS Its ability to organize takes in bins and CineSoundPro: What do you mon- to record the cast dialogue, and they give clips—and build a match back to itor on? us the entire session, but the key is in them—is so much better than anything Calder: Peter told me about these labeling. All the takes are labeled by else. And being able to find a clip in a Equator Audio speakers that he was show, by scene and by character, and we second or less—as opposed to five sec- using. They’re sold direct, so you can can drag these all into Media Composer HD SLR VIDEO onds—makes a real difference. In a Pro return them if you don’t like them. I and easily organize everything to bins. It’s Tools session, I could stack all the takes, liked them a lot for dialogue and then all about good, clear labeling, and having but there would be a lot of tracks to sort got another pair for my home studio. that makes all the difference in the world. through. And starting out as a video edi- CineSoundPro: Do you pull effects The best thing about working on tor, I was much quicker on the Avid—it off a central server? Futurama is they’re not afraid of the suits my techniques a little better. Calder: We have an Avid Unity technology. We’re constantly trying out INTERFACES CineSoundPro: How are rolls pre- MediaNet system and licenses for a cou- new tools and techniques, so for me, it’s pared for the final mix? ple Sound Ideas effects libraries. For temp been a lot of fun. I feel I’m the luckiest Calder: In Media Composer, we’re stuff, we occasionally go on YouTube and guy ever to have fallen into this show.

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090 0 I HDVideoPro Visit Our SuperStore Speak to a Sales Associate Shop convenientlyMonth 2011online I 0 0