500GB SSD for BMPCC4K on HUGE sale!

Just came across this nice sale of the Samsung T5 Portable SSD.

If you prefer B&H and their worldwide shipping then you can also get the same drive in different sizes with a similar discount on B&H Photo Video Store here. eBay also has this Samsung SSD on sale here.

If you don’t mind the blue color then you can save yourself over 30% off the regular price. This drive is a great way to record for a long time on the Blackmagic Pocket Cinema Camera 4K. Only other way is to buy CFast 2.0 Cards which are expensive. Or you can also record on faster SD Cards but that will limit the data rate settings that you can enable in the camera since SD cards can’t handle the higher bit rates.

Anyway I thought I would share this with you since I know I got excited and right away ordered 2 of these drives for myself. Anyone with the BMPCC4K will love these but also if you just simply want a fast external drive that is also small and that will allow you to edit 4K raw video of it.


How to Reduce Audio Noise in Your Recordings (For Free)

Having to reduce audio noise can be a real pain. And recording clean audio can be tough, especially in noisy environments.

Whether it’s background noise or less-than-ideal equipment, sometimes you end up with hissy audio. Luckily there is a free method to make your track easier on the ears.

Take a listen to what software noise removal can do:

Noisy Audio

Clean Audio

Before We Get Started: Room Tone

There is one tip that will help immensely with this process. If you are the one responsible for your recording, remember to record at least 10 seconds of “room tone”.

Room tone is simply a few seconds of recording the natural noise of the environment in which you’re recording (with no talking, nail filing, heavy breathing, etc.) Even if you can’t hear anything, a sensitive microphone will pick up ventilation noise, computer fans, and more.

Taking “room tone” will serve as a baseline for the software to remove noise. Having a section of room tone in your recording is always a good practice but if you know you’ll be needing to do noise removal later definitely don’t forget! If you don’t have control of the recording process you can still usually find a bit of room tone in a recording.

You can find room tone in a break between takes or time at the beginning or end of the file where nothing much is happening and usually that’s enough to work with for noise removal purposes.

So how is noise removal actually done?

How to Reduce Audio Noise in Audacity

In this economy who wouldn’t take the free option when available? If you aren’t looking to invest in high-end audio software, Audacity is a free piece of software created and maintained by a community of programmers and audio experts.

It accepts a wide range of audio file types and has a perfectly serviceable noise removal tool. The one catch is it’s audio only, so if you’re working with video it may not be the smoothest workflow. More on that later…

Here’s how it works:

How to reduce audio noise in Audacity

  1. Select your room tone or silent section from your audio

    Drag your mouse over an area with no (or little) audio.reduce audio noise audacity select silent

  2. Select Noise Reduction

    Under the Effect menu select Noise Reductionreduce audio noise audacity select noise reduction

  3. Get your Noise Profile

    Click “Get Noise Profile” and the box will disappear.reduce audio noise audacity select noise profile

  4. Select your entire audio clip

    Select all of the audio that you want that background noise removed. Go to ‘Select’ and then click ‘All.’reduce audio noise audacity select all

  5. Repeat noise reduction

    Go to the Effect menu and select reduce audio noise audacity repeat

  6. Listen to your clip

    Make sure your clip doesn’t sound muffled.reduce audio noise audacity play

What the sliders do:

Noise Reduction: Controls the amount of reduction of your noise volume.

Sensitivity: Controls the range of what noise removal considers noise. The higher this goes the more your actual audio (such as voices) will be affected.

Frequency smoothing: The default setting is setting is 3, settings lower than this tend to favor music and higher settings tend to favor spoken word.

I’ll tell you the same thing I tell my Uncle Mike when we go to White Castle: Go easy on the sliders! Small changes can make a big difference.

Reduce and residue buttons: Reduce is what you’ll want for a good preview. It plays what the audio will sound like with noise removed. If you want to hear exclusively what the noise reduction is taking out, select residue and click preview.

How to clean up audio in video editing

Audacity is great for cleaning up audio for a podcast or music. But for vocal tracks in video, it’s time-consuming to export your audio tracks, clean them up in Audacity, and re-sync your audio and video again.

It’s not impossible but it’s not the most efficient way to remove noise, especially if you’ve already cut up your clips in the timeline.

Camtasia (video editing software) has a noise removal feature built-in which is dead simple. It still works with your room tone but it’s not necessary to select the section on your clip, Camtasia will do that for you.

The sensitivity slider in Camtasia works the same as in Audacity. The “Amount” slider is equivalent to the Noise Reduction slider in Audacity.
By removing noise on the timeline you save the trouble of importing and exporting back and forth from an external program like Audacity, and it’s much easier to make changes quickly.

Next Steps

There are other programs with similar processes such as Adobe Audition and the very powerful Izotope RX5.

These programs edge into the professional realm of audio tools and allow you to go much further with audio sweetening if you’re willing to put the time and money in to learn them.

Just remember while software continues to get better at saving audio, doing everything you can to minimize noise in the initial recording will always be your best bet.

Free Trial: You can try any of our screen recorders for free. Get everything you need to record on your Windows, Mac, and iOS devices.

Editor’s Note: This post was originally published in 2016 and has since been updated for accuracy and comprehensiveness.

The post How to Reduce Audio Noise in Your Recordings (For Free) appeared first on Welcome to the TechSmith Blog.


The Friday Roundup – Audio Tips and Transitions on Titles

5 Audio Tricks
For the average amateur video maker probably one of the hardest things to control at the shooting stage is that of audio.
Most of the time due to equipment constraints and a lack of control over the shooting environment you end up with audio that is all over the place.
Taming this beast in editing software is somewhat possible but even then the results can…
Read more…

DISH: timecode sync uses satellite dishes

DISH: timecode sync using satellite dishes

Ari Krupnik decided sound sync was a good place to try a different approach, so he created LTCsync. Now he reveals DISH, a way to sync sound using satellites. It’s plug and play sync for the rest of us!

Back in April I presented PVC readers LTCsync, a timecode system that is simpler to use than a clapper. Designed by Ari Krupnik, who believes his previous tech experience can be used to reduce manual labour in film, LTCsync is a timecode system based on a completely new approach to the sound sync problem: it uses satellite dishes to make everything work.

Ari Krupnik wanted filmmakers to try the LTCsync software, so he approached ProVideo Coalition with the project. His aim was simple: “know how our software performs in the real world. We’re asking people who use LTC in their work to download our pre-release and try it”. He added, then, that the hardware that would work with LTCsync was being developed and he would tell me more when it was ready.

DISH: timecode sync using satellite dishes

DISH, a satellite timecode receiver

The goal of the whole project, he said, is to “eliminate as many switches and settings as possible, to make a system that you just plug in, turn on and focus on the shoot instead of babysitting the timecode” so he decided “to base the device on satellite time signals. I call my device DISH, like a satellite dish. Satellite time is very accurate, and it’s universal. You never have to jam-sync Dishes. They never drift. They always run on UTC. They work with expensive cameras that have timecode input, and they work with DSLRs by recording timecode on audio tracks.”

So, that’s what Ari Krupnik and team are sharing on Kickstarter. Even before it goes live, the first filmmakers that got to try the system or see the concept claimed that “It’s such an obvious idea that it should already exist!”, as assistant editor Daniel García said, while DP Matt Martin commented: “This will change the world we live in when it comes to production.”

DISH: timecode sync using satellite dishes

The master clock in the sky

DISH is a zero-configuration timecode generator. Looking back,  Ari Krupnik  says that “when I first started working in film, I thought:how hard can sync be? Then I saw what they saw: rows and rows of cryptic switches. Line Level? Time Of Day? Free Run? User Bits? Drop-Frame? What if I get one of these wrong?”

Aiming to make the whole timecode sync a more humane experience, Ari Krupnik developed the software and now the hardware that will make the process simple. As he puts, it, it’s plug and play sync for the rest of us! When presented with the project sound engiuneer Peter Graf said: “I have the feeling that you are onto something good.”

For sync to happen a master clock is needed, right?. It so happens that governments and private companies have put satellites in orbit that transmit very accurate time. You can get precise UTC time anywhere in the world. No more asking, “Which master are we jammed to?” “Is this one running as master or slave?” “Are we running Time of Day?” “When did you last jam this one?

DISH is always at 24fps

It’s really simple, apparently: when you put a DISH receiver on your camera, it becomes a timecode zombie. It mindlessly follows signals from a global cabal of satellites in space. No more drifting. No more jamming. No more free run. Satellites are in control. Sound and picture are in sync. The “magic” of it is that it all happens through a box that, during the development process lost every button or switch, even the on-off switch. DISH turns on as soon as you plug in an output cable.

DISH does have one controversial aspect, though: it locks down the frame rate and output level. DISH is always on 24fps and mic level. Ari Krupnik says this is “where people give me this look: are you for real?” to what he replies with “I am. The differences between 24fps and 23.98, 30 and 29.97, drop-frame and non-drop-frame, etc., trip people up. To avoid this confusion, DISH puts the timecode on an audio track. Audio streams are inherently continuous, and can take timecode at a different rate than the video in the same file.”

There are solutions for this, he says, and they are explained on the Kickstarter page now created, where the team looks for crowdfunding to reach its US$ 10,000 goal. Research and development are done, based on the feedback from everyone from casual users to industry veterans, and the DISH is ready to conquer timecode sync with signals from outerspace. The team just needs the support from users to make a real production run.

The post DISH: timecode sync uses satellite dishes appeared first on ProVideo Coalition.