RedShark News

There are advantagest to Adobe CC: you get iZotope tools

Published in Audio

iZotope's audio tools technology is now included with Adobe Premiere Creative Cloud

The next generation of audio for TV

Published in Studio & Broadcast

The next generation of audio for television is set to be much more flexible

Broadcast Quality Audio Field Recording with Prosumer Cameras and DSLRs ("Unlocking the Mysteries of ‘Phantom Power"). RedShark contributor Craig Marshall reports

New Audio section in RedShark

Published in Audio

RedShark now has a dedicated audio section. We're doing this to ensure that we give the best possible coverage to this imortant part of content creation

Plural Eyes 3: Slick Sound Syncing

Published in Post & VFX

Recording audio separately from video is prone to synchronisation problems. Traditionalists use (electronic) clappers and the Timecode from the camcorder. Enter the new way to synchronise: Plural Eyes from RedGiant's Singular Software

Video isn't video without sound

Published in Audio

Video is only half the equation for a full production. Audio is important. To do it properly, you need skill and perseverence

In Pursuit Of Excellence: The RØDE Microphone Story

Published in Audio

Craig Marshall visits RØDE's headquarters in Sydney for RedShark and finds out what it takes to make high quality microphones that sell worldwide

Ninja 2 + Nikon D800 Review: Part 1 of 3

Published in Production

DSLR users have long complained that they can't get clean, unadulterated line outputs suitable for high-quality recording. But the D800 is different. Phil Rhodes tests it with an Atomos Ninja 2 Field Recorder

Audio brings life to animations

Published in Post & VFX

I was present at the audio mixing stage of Aardman Animations' "The Wrong Trousers" or "Wallace and Gromit" as most people remember it. This stop-motion animation classic was hilarious from the first frame to the last, but for me the most memorable thing was seeing it without sound, and then with sound

EQ is an essential part of the audio production toolkit, but it can be difficult to control, and because of that, it's not always used to its fullest effect

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