Monday, April 29, 2013

Film Self Distribution Platform "Reelhouse"

Reelhouse is an online video platform where creators can distribute their content directly to viewers, with the freedom to share, sell, or raise support through their videos.

Reelhouse is an open video sharing community that offers film and video creators a rich toolset to self-distribute their content directly to their viewers via any internet connected device. Creators can choose between a series of monetization models while also leveraging customization, marketing, merchandising and media features that provide an engaging experience for their audience; all within a community specifically for quality entertainment content.    
  • Free to Distribute
  • Unrestricted access and supply
  • More intimate relationship (benefits for both)
  • Creative and licensing freedom
  • Viewer confidence in helping in the creator directly

Saturday, April 27, 2013

Dolby Atmos, new level of sound design

With more people viewing films through streaming host companies ( Netflixs, Hulu, etc...) cinema theaters are pushing for a film experience to keep their seats filled.  Dolby Atmos is providing a sound experience in theaters that is amazing.  Being a sound designer I am excited about the possibilities and effect this technology is offering.   Take a look at the link provide below and a look at the video of the sound design team for the film "Oblivion"

Thursday, April 25, 2013

DSLR Shotgun mic with built in Recorder

Shure is making a shotgun mic with its own internal recording capabilities called the VP83F. It can sit right on top of your DSLR.

Tuesday, April 23, 2013

Wireless HD Video, Camera to Monitor

At Binary Studio we are big fans of Marshall Video Monitors, they are well built, look great and can take a beating. I know from experience, my camera setup flew off the slider and hit the cement pavement.   The lens on the camera was broken but the monitor is still rockin.
Marshall is coming out with a wireless system. Example: you might want to hand the monitor to the producer or director while shooting without being attached with cable etc....  Range about 100 ft.

Check it out!

Monday, April 22, 2013

Sell your music online.

We record and produce many indie music groups and here is a question that often comes up "what is the best service to use to sell our music online?"  
There are many services that provide a platform for selling your music and I would check them all out.  I have seen a trend with one service that many musicians have been using called CD Baby.  It is a real easy service to sign up for and the largest online distributor of indie music. Once you are a member you have access to Creating a music website they host

CD Baby is the largest online distributor of independent music. It began as a garage startup in 1997 and has grown to serve more than 2.2 million customers worldwide. Artists get paid within a week of making a sale, and until now more than $160 million was paid directly to the artists.
As a member, you can sell your CDs and MP3s in the world’s most popular music stores, both online and offline. CD Baby makes your music available on iTunes, Amazon MP3,, Facebook, Spotify, and dozens of the most popular music sites. It also lets you sell your CDs worldwide and make them available for special order sale in over 2,500 brick-and-mortar retail stores. You can even sell vinyl on

Friday, April 19, 2013

Audio Compression, "How To" Leveling the signal

Here is a simple "how to" use a audio compressor.  
Audio compression is a method of reducing the dynamic range of a signal or leveling the overall signal

  • An audio source to be compressed (eg. microphone, musical instrument, output of sound desk, etc)..
  1. Connect the source to the compressor's input, and the compressor's output to the destination device.
  2. Adjust the compressor's input and output gains to appropriate levels.
  3. Set the threshold level to the point at which you wish compression to take effect. Signals below this level will not be affected. Signal levels above the threshold will be reduced according to the compression ratio.
  4. Set the compression ratio. Ratios of 5:1 or less will produce fairly smooth compression; ratios of 10:1 or more will produce more severe cutting off.
  5. Set the attack time. This is the delay between detection of a signal above the threshold, and the commencement of compression (ie. the time it takes to "attack" the signal).
  6. Set the decay time. This is the time taken to release the signal from compression.
  7. Adjust any other settings on the compressor. If you don't know what they are, try to put them on automatic, or disable them.

Thursday, April 18, 2013

ACX, Audiobook Creation Exchange

At Binary we have been in production for our clients creating  i-Books, Kindle books, and many audio book formats.  ACX is a Amazon platform that aside from offering audio book distribution,  they have created a network for authors, narrators, agents, publishers and audio studio's to connect.  

Wednesday, April 17, 2013

DSLR Camera Stabilizer, The "MōVI"

One of the issues using DSLR camera's for video is being able to get a stabile shot while your in motion with the camera. Steadicam has been the tool that is used in the industry and here is a new approach that is built with the DSLR in mind made in Seattle Wa.

MōVI BTS from Vincent Laforet on Vimeo.

Tuesday, April 16, 2013

Adobe Creative Suite 40% discount offer, Limited Time!

At Binary we use Final Cut and Adobe Premiere as our editing production suites.  Depending on the needs of the client we have both formats.  We enjoy using Adobe because the work flow and features are the way we like to work.  About a month ago Adobe has moved to the Cloud for any purchases or updates with no hard copies available. I am not that happy about this because I like having hard copies of the software I purchase and now have to go to the cloud for any updates.
So if your a adobe user and want to save a little money, this is the time to get on board with the Adobe Creative Cloud.  They are offering 40% off the first year of use. You need to sign up before April 19th.

Here is the link:


Monday, April 15, 2013

A motorized parabolic track slider for Video Production.

I shoot documentary films often with a small crew. Many times I have to handle the camera, capture sound and interact with the subject. More often than not, I have to settle for a static shot, or hide behind the camera while trying to speak to the person I am interviewing.  Redrock Micro’s has come out with a  new “parabolic track slider” — the One Man Crew — aims to add graceful motion to your shots, while freeing your hands to focus on other aspects of the shoot.  Check this video out:

Saturday, April 13, 2013

DSLR video Audio option.

At Binary Recording Studio we use DSLR's for some of our shoots. We use a secondary audio recorder for our audio and sync the audio in post with the camera audio to get the best results.  Tascam has come out with a low cost recorder that focuses on the need of the DSLR video user.

Here is a video that explains the recorder and its use.

Tascam DR-60D from B&H Photo Video on Vimeo.

Thursday, April 11, 2013

Marketplace for Voice Over Talent

At Binary Recording Studio we do alot of voice over, audio books, etc.... and often need a selection of voice talent to accommodate the different needs of our clients.  I am a big supporter of using local talent but sometimes you may need that voice that is hard to find.  There is a resource called that you may want to take a look at to find the voice that works for your project.
It is real easy to use, you post a sample of your content and within the hour you will have voice samples back to listen to and a cost proposal.

Wednesday, April 10, 2013

Why make a short film instead of a feature film?

I enjoy making short films because it allows me to experiment and try thing that I often can't do with bigger budget films.  Now that Vimeo and Youtube seems to be the screening format for indie film makers, you can try out your idea's and get some pretty fast feedback. Here is a interview with some successful directors that talk about short films.

Tuesday, April 9, 2013

The Mistake's Filmmakers make in Marketing their Films

I tell people that the marketing of your film starts the same time you are making your film or before.  I have seen many great projects fail because of the lack of marketing.
Here is a video clip from Sheri Candler talking about marketing mistakes of the indie film maker.

Monday, April 8, 2013

Home Recording, Control Room Acoustics

At Binary Recording Studio we do alot of mastering for home studio projects. Laptop recording systems that are in a home, bedroom or kitchen environment sometimes have issues that create audio mixes that make the mastering difficult.
Most often the problem is the listening space or control room that the mixes are made.
The acoustics of the room will influence your mix and how it is represented (sound) outside of your studio control room.
Studio's can spend alot of money to get a control room to represent the sound correctly, but here are some very basic things to think about for your next recording. 


Wednesday, April 3, 2013

When the music film score detracts the story?

 Music has been a part of film almost since the beginning of motion pictures. Music originally had a practical use: to keep the audience from talking and dull the sound of the noisy projector (Buchanan, 1974).

I have been doing alot of audio post for film and started to think about how music and silences are used to create emotion in film.  I read this piece that I want to share, by Michael Isaacson, Ph.D.

Michael Isaacson, Ph.D.

After one asks the analytic questions why? where? and what music should be created for a scene? A final question should be is music needed at all? As creatively vital as knowing how to compose film music, is the understanding of when not to include it and let other elements carry the movie’s dramatic moment. There are ten circumstances when no music is better.

1. Before a lot of music.  If a chase or a heavily scored comedic or dramatic scene is about to occur, find a way of lightening the musical content in the scene preceding it. The
silence before this major cue will prepare the ear for the uniqueness of what is about to follow.
More importantly, as you are preparing the audience with silence, you are also reminding them that structurally a significant scene is about to take place.

2. After a lot of music.  Concomitantly, after an important scene with lots of music, an audience needs time to make meanings, take a breath and avoid information overload. Punctuate the import of the preceding music and the narrative elements that have just transpired by letting silence structurally work for at least the beginning of the scene that follows.

3. When neutral source ambience is enough.  When dramatic music is not needed let the FX people put in ambience rather than elevator music. Mindless needle drops serve to anesthetize an audience to music’s function and encourage them not to pay attention to important musical moments.

4. When sound effects aggressively compete.  Car screeches, artillery fire, explosions, et al. are loud traumatic sound events that do not need a musical overlay. They speak for themselves. No matter how mindful you are of the tessitura of the particular sound effect and feel you can add music in a contrasting register, it only serves to muddy things up. Far more creatively, use that sound effect as a non-musical rhythmic element in between the dramatic
music that bookends it. The result will be more organic.

5. When sound effects carry the moment.  A phone repeatedly ringing, an accelerating heart beat, or a close up of a burning fuse are all examples of a sound effect that is compelling and riveting all by itself. Trust that moment and eschew adding any additional music over it.

6. When words carry the moment.  A beautifully written speech performed by a talented actor with a compelling voice is about as good as it gets. There is no music that will make it better.
Leave that speech in the clear. Unless they are sung, it is annoying to actively listen to music
and words together. It is only when those vocal or literary elements are weak that directors mistakenly ask the composer for music to strengthen them; in truth, it usually does not.

7. When action carries the moment.  There are certain bits of business that are so visually compelling that music need not accompany them. Scoring a scene and then allowing silence
to punctuate these bits of business is a far more intelligent use of music as counterpoint to the

8. When a dramatic pause is required.  Another aspect of the previous idea is the use of the Grand Pause. It is an island of silence in a sea of music that uses negative space to
underscore a speech, action, or dramatic beat that has just occurred. It is a silent gasp, an unsounded meditative moment or a tacit recovery from a dramatic impact and often, the most dramatic music that you will not write.

9. When making a segue from one dramatic beat to another.  A corollary to the Grand Pause is the silence or “luft” you use in between dramatic beats. For example, instead of scoring a
scene right up to the next contrasting moment, try using a musical tacit to let a door close, a car drive away, or a closing reaction shot make the transition. It is the advocacy of the affect of less is more.

10.When Documentary reality is sought.  Finally, when a moment of stark Documentary reality is required music is not needed. Including music would either
turn it into melodrama or a Movietone Newsreel. In this case the visual action needs only a sound effect of a projector or some ambient crowd noise.

Remember that our music guides audiences in how to understand a movie by listening to the silences that surround it. Articulate your positive lines through the intelligent use of negative space and always let the visual, effects and dialogue tracks alone dictate your musical imperatives and the creative usage of silence.

Tuesday, April 2, 2013

Remove ambiences and reverb from your audio

Often in working with audio for film, we come across the need to remove some of the ambience found in the track to match another etc....  Sometimes the dialog track is recorded in a big room with lots of reverb that you would like to reduce for some clarity.

I have been using this plug-in called SPL DeVerb, that I think can help, its worth trying it out.  Free to try if you like it buy it. It has two controls knobs, one for reduction and the other is output, what more do you need!

Sound Performance Lab a software audio plugin company out of Germany.