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bilibili_data_14118553_BV1tu4y197NB_p32_BV1tu4y197NB_p32_m4-dialogue_0518644 | [S1] Yeah, yeah, yeah. [S2] Wow. [S1] And then sometimes, sometimes I am as, I'm as, I'm as, you know, I, I'll sometimes even say, like, when he's on a roll, I'll just be like... [S2] Yeah. [S1] Like, keep going. Like, without saying it, just, "More, give me more," and they'll, and they'll go, like... [S2] Yeah, they're your gnarling, gnarling. [S1] Right. | 16.08 | 2.873239 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p32_BV1tu4y197NB_p32_m4-dialogue_0518644.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p32_BV1tu4y197NB_p32_m4-dialogue_0518645 | [S1] And I'm trying, I'm not trying to get many cameras, 'cause, uh, in this moment for me shooting this, um, I'm expecting that you're not gonna use this whole scene. [S2] Yeah. [S1] You're gonna use moments, so I'm trying to not, like, I'll give you some different camera angles. It's the difficulty with a prime. [S2] And we'd get it. | 15.92 | 3.11392 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p32_BV1tu4y197NB_p32_m4-dialogue_0518645.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p32_BV1tu4y197NB_p32_m4-dialogue_0518646 | [S1] And we get it later too, you'll see. [S2] But we get it later, exactly. [S1] And then if you keep playing, Mark's really good at like, like we, we are getting the, we're not trying to do two things at once here. Like he's focused on getting a good frame of, of, you know, of- [S2] Sean, we can cut to the footage too of him talking. [S1] Totally. And then if you scroll for, if we just move forward here a little bit, now, you know, this is now our B-roll. Like now Sean's not talking. [S2] There's the tripod. That's why I went to the side of the car. | 28.16 | 3.025053 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p32_BV1tu4y197NB_p32_m4-dialogue_0518646.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p32_BV1tu4y197NB_p32_m4-dialogue_0518650 | [S1] ... here and I just know, I'm like, "Oh, you're asking for something new." [S2] The cinematographer, right. [S1] And so then I'd come around, we, we got rid of the tripod and we... [S2] Now you could go from a wide to a tight. [S1] Yeah. | 9.72 | 3.023471 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p32_BV1tu4y197NB_p32_m4-dialogue_0518650.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p32_BV1tu4y197NB_p32_m4-dialogue_0518651 | [S1] Yeah, just switching up the angles. And that's, uh... [S2] You just want, you want to get a, you know, you, you do want enough coverage. [S1] And here's a, here's a little trick too. I'm on a prime lens. Um, this is a quick way to get two different, uh, people that are like, "Oh, but you can't zoom in on a prime." But you can change your perspective. I'm, I'm waist level here, and then I go down low. [S2] There's your cut. [S1] So th- so there's a cut. There, there's a cut right there. We go from the hand- [S2] Yeah. [S1] ... the, the feet to the face. So it's, that, I mean, there's two different, that's two different shots. [S2] Right. [S1] And then there's a new shot. | 28.88 | 3.247993 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p32_BV1tu4y197NB_p32_m4-dialogue_0518651.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p32_BV1tu4y197NB_p32_m4-dialogue_0518652 | [S1] This is what it looks like to make a doc for- [S2] Yeah. [S1] ... for Mark and I most, you know, obviously I'm directing, so this is more my style. Mark, you know, Mark might have a little more of his commercial bend, so a little bit more, um- [S2] I'm trying to do more of this. [S1] Right. [S2] This is, this is doc. [S1] But just so you guys see, like, this is how we make it. [S2] Yeah. [S1] It's like- [S2] Yeah. [S1] ... this is the film. This is the, like, this is one person shooting somebody else, you know, just kind of following along, giving cues. [S2] But it's also- | 26.28 | 3.08605 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p32_BV1tu4y197NB_p32_m4-dialogue_0518652.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p32_BV1tu4y197NB_p32_m4-dialogue_0518653 | [S1] Also, I mean, you can see Michael's just holding on to my shirt so I know where to go. But this is also taking you, it's taking both of us on a film. [S2] Oh, yeah. [S1] This, this is taking you trust. [S2] Yeah, oh, yeah. [S1] But it's, you, you've had to- [S2] Oh, yeah, we trust each other. [S1] We've had to build trust this way because I know for me- [S2] And the lang- and the language. [S1] And the language and it's like, but also going back and reviewing the footage and you being, "Oh, I want that differently." Or I'm like, "Hey, I've- [S2] Yeah. [S1] ... this, like, there's, there's trust that has to develop. [S2] Yeah, I'm | 24 | 2.860377 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p32_BV1tu4y197NB_p32_m4-dialogue_0518653.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p32_BV1tu4y197NB_p32_m4-dialogue_0518655 | [S1] And, and talking technical, just a quick thing here for the gear guys. I'll show you how you shoot all day. I, I had the opportunity to shoot with a, an easy rig on this, but I decided not to because I find when you're running around with an easy rig and you have that handle, it fights you. [S2] Mm-hmm. [S1] Unless you have the screen arm, but then, then you're just a giant- [S2] Yeah. [S1] ... Terminator. You can see the way I'm shooting here is, if I'm gonna shoot all day, I don't want | 22.12 | 2.85555 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p32_BV1tu4y197NB_p32_m4-dialogue_0518655.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p32_BV1tu4y197NB_p32_m4-dialogue_0518656 | [S1] ... to feel like I'm lifting anything. [S2] Right. [S1] So what have I done? I've just cradled my arms and I have them resting here. This is an easy position. I'm literally not even really holding on to the camera. [S2] Right. [S1] I'm holding it like a baby. And then that's where this, uh, monitor arm, you can see I'm adjusting it there. I'm trying to get it up to my face as close as possible so that ... 'Cause the last thing you want to be doing is down here holding a mirrorless camera. I see people with the tiny screen getting in there or, or, I mean, sometimes you hold it up to your eye is good when there's lots of sun out, but, but also too, I, I want the camera just to be there. I don't want to be hunched | 29.88 | 3.141743 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p32_BV1tu4y197NB_p32_m4-dialogue_0518656.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p32_BV1tu4y197NB_p32_m4-dialogue_0518657 | [S1] ... over, 'cause then at the end of the day, when you really have the moments where your character's spooling out their emotions, you're exhausted. [S2] And you got the, you know, you've got the foresight to know we might, you might be holding the camera here for 10 minutes straight. [S1] Yeah, yeah. [S2] You know, so it's like don't, you know, don't hurt yourself trying to get, you know, in an awkward angle. Mark's smart to do this, 'cause you got a real long day of filming here. | 21.32 | 3.110403 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p32_BV1tu4y197NB_p32_m4-dialogue_0518657.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p32_BV1tu4y197NB_p32_m4-dialogue_0518658 | [S1] I'm, I'm not sure to film. You tap me there, I'm like, "Oh." [S2] Go. Go. [S1] So they had this. So, um, Clear Sky's, uh, partner, uh, Janice here, she was a bit, uh, r- you know, what would you say? [S2] Apprehensive. [S1] Apprehensive, yeah, to want to be a part of the film. [S2] Yeah. [S1] You can understand they're going through a really tough time in their life and there's cameras that are there, so. | 19.4 | 2.831274 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p32_BV1tu4y197NB_p32_m4-dialogue_0518658.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p32_BV1tu4y197NB_p32_m4-dialogue_0518660 | [S1] I'm off with Sean, just scouting out the, the race course. And Mark's using this as an opportunity to sort of break down some of those walls. And, you know, th- this is something Mark and I have talked about, um, and it's really insightful. Like, we'll play a clip here from Transformer. [S2] Yeah. [S1] Um, this was also | 20.88 | 3.296177 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p32_BV1tu4y197NB_p32_m4-dialogue_0518660.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p32_BV1tu4y197NB_p32_m4-dialogue_0518662 | [S1] And the person in the taxi driver is like, "Hey, how's your day?" And you're like, "Bah!" You just spill it all out. And it's like, why? Well, 'cause he seems like this, there's an anonymous, an anonymity. Like you don't know the guy and you feel like you're not gonna see him again. So that's why sometimes using your cameraman or your sound guys, they can actually help you get that next step further because as a filmmaker, you're with the subject so often, you almost become like family. And so people get, it's difficult for them to sometimes wanna open up- [S2] You get into a pattern. [S1] Pattern, exactly. [S2] You know, you- | 26.2 | 3.159683 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p32_BV1tu4y197NB_p32_m4-dialogue_0518662.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p32_BV1tu4y197NB_p32_m4-dialogue_0518663 | [S1] ... into a certain pattern with the director. Maybe you get the per- So it's like, this is a way to sort of break that pattern and just- [S2] Yeah, yeah, exactly. [S1] ... to figure out, uh, um, I don't know, a new way to approach them that may not have worked, just you and, you and them. So it's, it's, it's not a bad idea. I've, I've done it. I can give you great examples in all my film. [S2] Transcend. [S1] Yeah, transcend. [S2] Transcend, that one moment with Wesley in the, um, in the hotel, like that was- [S1] In, in, yeah, there's a few moments. [S2] Yeah. [S1] But it's, yeah, I was thinking of another one. [S2] And that doesn't, and that doesn't mean you're not a good director. That's not what we're saying. We're saying just, | 29.24 | 3.229657 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p32_BV1tu4y197NB_p32_m4-dialogue_0518663.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p32_BV1tu4y197NB_p32_m4-dialogue_0518664 | [S1] No, no, I think, I think it's, it's, it's very tactful. Like it's so- [S2] Yeah. And so even tactical here, you can see, I have the camera at my hip and I'm pretty sure I'm rolling there. But what I did though, the first thing I said with her to that day, 'cause we knew how, kind of like how much Janice didn't want to be a part of it at this point. [S1] Do you have the footage? [S2] Yeah. [S1] Just watch them. [S2] Beautiful. Yeah. [S1] While you talk. [S2] But, but, um, | 21.96 | 2.921828 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p32_BV1tu4y197NB_p32_m4-dialogue_0518664.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p32_BV1tu4y197NB_p32_m4-dialogue_0518665 | [S1] With Janice, I just told her, I'm like, "Hey, this is weird, hey?" I was like, "Having cameras in your face?" And I was like, "In film and life?" And she was like, "Yeah, yeah, it is." And, and so I was able to just acknowledge to her a bit of like kind of the absurdity of, of what making a film is. And, uh, she actually really opened up, uh, in the forest when we, when we went to the forest later on. [S2] Right. [S1] She, she opened up and gave a bit of her, her heart and what was going on and, and even got a bit emotional. And it was, uh, | 25.44 | 2.89049 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p32_BV1tu4y197NB_p32_m4-dialogue_0518665.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p32_BV1tu4y197NB_p32_m4-dialogue_0518666 | [S1] Uh, it's not a pat on my back, but it was just the fact that we were able to kind of create this intimate moment where she felt safe. And that's, uh, uh, you know, kudos to Janice for opening up that quickly. Sometimes it takes months with your subject. Sometimes, in this case, it took minutes. [S2] It's a good lesson you could teach them here. [S1] Oh, yeah, this. So, always, um, you always wanna be thinking about where you're going, not just where you are. So in this case- [S2] Anticipation. [S1] Anticipation. | 24.16 | 3.298373 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p32_BV1tu4y197NB_p32_m4-dialogue_0518666.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p32_BV1tu4y197NB_p32_m4-dialogue_0518667 | [S1] ... Thank you. And so- [S2] Huge, to me, is like the number one characteristic if I'm looking for a DP or the thing I'm thinking most, like as if I'm filming my own, if I'm actually doing the camera work on my own films, like- [S1] Yeah. [S2] ... the number one thing I'm always thinking about is anticipation. Where are the characters going? Like, tr- [S1] Yeah. [S2] ... While I'm focused here, it's like looking out the corner of my eyes seeing, oh, someone, another character's coming into place here. Hold still. Don't, don't jerk over. [S1] Yeah, yeah, yeah. [S2] Like, like, anticipate the shot. Like, | 29.24 | 3.133763 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p32_BV1tu4y197NB_p32_m4-dialogue_0518667.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p32_BV1tu4y197NB_p32_m4-dialogue_0518668 | [S1] So anyway, this is a good example. [S2] So this is like right here, you'll see, I'm, I'm trying to think about what's going through my head here. I look up here, I look, I'm looking down the path there, and then I look back and I see our behind-the-scenes shooter, and I'm like, "Hey, man, go behind us." [S1] Because? [S2] Because here's the race. You'll see this- [S1] You're gonna, you're gonna pan there. [S2] Yeah. | 16.48 | 3.061702 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p32_BV1tu4y197NB_p32_m4-dialogue_0518668.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p32_BV1tu4y197NB_p32_m4-dialogue_0518669 | [S1] And then, uh, I'm trying to find him. Sean was way back there for how fast he is. There's the pan. See, oh, I would have shot, oh, stupid auto-focus, grabbing that tree. And then we go, but I can- [S2] I might need to do a cut there. [S1] Yeah, we do a cut there. Um, and then we cut into the forest. This is just the, man, what a beautiful day and what a beautiful location that was. Um, we've already talk- did we speak about, yeah, we already showed me earlier on, talking about shooting B-roll. [S2] Just to give | 26.68 | 3.181386 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p32_BV1tu4y197NB_p32_m4-dialogue_0518669.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p32_BV1tu4y197NB_p32_m4-dialogue_0518670 | [S1] Just to give like a little, like the setup here is I'm on the gimbal biking around and Mar- So we have two cameras going on here. We, uh- [S2] I do not suggest this, but Mike, he's a legend. Are these the first place guys at the first place? [S1] No. [S2] No, that's just laughs. [S1] Definitely. [S2] Yeah, 'cause I'm saying their strides aren't that strong. There's, there's, there's Shawn with that. [S1] Shawn's with some kid who, he ends up beating him significantly, but it was- [S2] The kid, the kid was killin' it, though. [S1] I was asking him to get ahead of him, [LAUGHS] to make the shot look a little better. | 29.2 | 3.166081 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p32_BV1tu4y197NB_p32_m4-dialogue_0518670.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p32_BV1tu4y197NB_p32_m4-dialogue_0518671 | [S1] Um- [S2] This is just Mark, you know, this is, it's a loop course. We're just- [S1] Yeah. [S2] ... getting, you know, it- [S1] So- [S2] You know, you know in the edit you're only gonna be using a minute from the race. [S1] Exactly. [S2] So it's just trying to get some, we, we scouted this out before knowing we wanna get the start. Mikey's gonna get some stuff in the forest. [S1] Uh-huh. [S2] Mark's gonna get like, you know- [S1] And- and- and- and- [S2] ... | 18.2 | 3.030288 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p32_BV1tu4y197NB_p32_m4-dialogue_0518671.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p32_BV1tu4y197NB_p32_m4-dialogue_0518672 | [S1] Uh, it is right. [S2] There you go. Beautiful. [S1] Yeah. There's Janice in the forest. Um, that was when I was talking with her there in that forest. | 8.48 | 2.833425 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p32_BV1tu4y197NB_p32_m4-dialogue_0518672.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p32_BV1tu4y197NB_p32_m4-dialogue_0518673 | [S1] And then, yeah, here's Sean. I flipped it over to 180 because I knew, you know, a race, you don't have much time. Uh, [LAUGHS] the leaves falling. Look at that. Oh, it hits him. [S2] It's beautiful. [S1] Oh, you couldn't ask for anything better. Um, except if I had had a Sony with auto-focus 'cause I was pulling that focus myself. And then again, you know, getting Janice in the shot. This is why I love a 24-mil lens 'cause it's, it's, you'd be able to get everything. [S2] He's done. [S1] He's done. There he is. And I think we get a little kiss here. | 28.24 | 3.260068 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p32_BV1tu4y197NB_p32_m4-dialogue_0518673.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p32_BV1tu4y197NB_p32_m4-dialogue_0518675 | [S1] I don't remember. [S2] I'm probably down. Um, I was just talking in that shot there about practicing, you know, seeing how quickly I'm going to be having to zoom as they come close. I'll practice on a couple people running by, even though they're not our main character, because I don't really get one shot at that. And so- [S1] Yeah. [S2] Um, I think that's like, if you're going to be shooting a doc, | 19.92 | 3.134345 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p32_BV1tu4y197NB_p32_m4-dialogue_0518675.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p32_BV1tu4y197NB_p32_m4-dialogue_0518676 | [S1] Uh, just go out right now and follow some people around with the camera. Like you were saying earlier, I don't know if it got- [S2] Yeah. [S1] ... cut out, but you never go to battle with another man's gun. Like, me and Mikey, we, we share the cameras, but we just both embrace our own style of using the camera and let the other person, it even means us having to go into the menus and switch it up. [S2] Yeah, Mark- [S1] But that's fine. It's like we have | 20 | 3.264754 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p32_BV1tu4y197NB_p32_m4-dialogue_0518676.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p32_BV1tu4y197NB_p32_m4-dialogue_0518678 | [S1] Here's the, the final BTS here. Wow, sun is so much brighter from the morning. But you can see we're going backlit here on Sean. Um. [S2] Great, it's the great like pacing game. You know, like you see people walk. [S1] Oh, I think I wish I would've had my, my. [S2] Like it's got, you have so much energy, you have to. [S1] My ND filter there. Talk about this scene. I'm gonna grab a battery. | 20.08 | 2.970754 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p32_BV1tu4y197NB_p32_m4-dialogue_0518678.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p32_BV1tu4y197NB_p32_m4-dialogue_0518680 | [S1] Which is amazing. [S2] You know, the art, the art in my mind is the patience. Like, the art is the patience in letting things properly unfold. It's not trying to, like, find super creative shots in the moment. Like, it's- [S1] Yeah. [S2] You know, like that, like- [S1] You always, you, you always have B-roll days. Yeah, so you can- [S2] Yeah, or even in this, like, later on, if, let's see if he rolls through it. But, you know, we go, we go, we get a few different angle. There, we're shooting from behind. I don't know, I remember we shot from behind a little bit, but, | 26.72 | 3.065789 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p32_BV1tu4y197NB_p32_m4-dialogue_0518680.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p32_BV1tu4y197NB_p32_m4-dialogue_0518681 | [S1] And we get to review, they, they've left now and we get to review some footage, which is always fun. [S2] Oh, dude, that's insane. [S1] We can cut to that. Yeah, this is just trying to create, like, some type of cinematic look, like, trying to bring some production value. So the whole race isn't an establishing shot, one long lens, a couple passing by, and a finish. Like, you know, this allows you to then enter his, for me, it's like, I would imagine, we haven't edited this yet, but this is like, I could hear his voice. | 29.92 | 2.84037 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p32_BV1tu4y197NB_p32_m4-dialogue_0518681.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p32_BV1tu4y197NB_p32_m4-dialogue_0518682 | [S1] underneath this and this is like a meditative. [S2] Especially in this shot. [S1] Right. Like something long, single, like as if it's a film. You've set this whole thing up on a Russian arm or something and- [S2] But this is you riding- [S1] Backwards. [S2] ... and holding a gimbal, full-on gimbal backwards. [S1] Facing forwards, face, face, dr- biking forwards, facing the camera backwards. [S2] It's amazing. We pay thousands of dollars to get this happen normally. [S1] Or to get to like, you know, this is 90% as good as, 80% as good as what you would pay, you know, 50 grand for. [S2] Yeah. Do you know | 29.92 | 3.03189 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p32_BV1tu4y197NB_p32_m4-dialogue_0518682.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p32_BV1tu4y197NB_p32_m4-dialogue_0518683 | [S1] ... 50 grand for. [S2] Do you know what the, I think the ultimate setup for us to do is, is an electric bike with the, with a carriage in the back and just one person. That's, that's how we'll do it in the future. [S1] Yeah. | 10.84 | 2.884082 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p32_BV1tu4y197NB_p32_m4-dialogue_0518683.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p40_BV1tu4y197NB_p40_m4-dialogue_0555926 | [S1] Oh, um, March to September 2018. [S2] 2018, there you go. [S1] We're at like two, now we're at like another year and a half. [S2] Another year and a half away. [S1] I'm getting it out. [S2] So Mikey's been, uh, you know, working on the festival circuit with this film. It's been- [S1] It's a tough time right now. [S2] Yeah, uphill battles. [S1] COVID's happening right now and, and all the festivals have kind of gone from, you know, a quarter of as many films as usual. [S2] Well, it's | 24.32 | 2.919364 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p40_BV1tu4y197NB_p40_m4-dialogue_0555926.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p40_BV1tu4y197NB_p40_m4-dialogue_0555927 | [S1] Yeah, there's, there's different principles we're trying to teach you, but when you get to your edit, you're going to see based on how you filmed your footage, whether it's more narration, as you're going to see in this film, this is based off of a very particular way of how I've, I've filmed with the character, that that then influenced the actual editing. So I'm, let me explain. [S2] Yeah. [S1] Um, I, I filmed without any backpack or any gear. I went out every day with, I had two batteries, two cards, one lens, no tripod. | 29.92 | 2.921163 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p40_BV1tu4y197NB_p40_m4-dialogue_0555927.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p40_BV1tu4y197NB_p40_m4-dialogue_0555928 | [S1] Every time I went out to shoot, I had roughly two hours of filming that I could do with him, and then that was it. So, we knew that that was going to be, um, a bit of a different style of filmmaking where I'm not hitting record, on/off, on/off. It was long takes. I'd capture a certain part of the day, you know, I'd try to get different parts of the day each time, and then we'd come back to the edit. And that's what I wanted to show you. [S2] So, in here, you have these different actual dates. [S1] So, let's look at, this is the very first day I filmed with him. | 29.92 | 3.100632 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p40_BV1tu4y197NB_p40_m4-dialogue_0555928.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p40_BV1tu4y197NB_p40_m4-dialogue_0555930 | [S1] 22, 2018. Um, we do a little bit of panhandling, and then he takes us for a bike ride. He's notorious for always having a different bike in almost every scene. [S2] Play one of those clips here. We'll see how it is. [S1] Yeah, let's, let's, let's see a shot. So- [S2] This is your first day of editing, so your, your cinema, your style kinda changed throughout. [S1] Yeah. | 18.68 | 2.864085 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p40_BV1tu4y197NB_p40_m4-dialogue_0555930.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p40_BV1tu4y197NB_p40_m4-dialogue_0555931 | [S1] Yeah, but I will say I knew, I knew very well how I wanted, you know, it's, I'd been influenced by a lot of Italian Neo-realism films. [S2] Yeah. [S1] The Florida Project was a huge influence going into this. [S2] Yeah. [S1] And that influence was essentially, um, you know, they call it fly on the wall, observational verite. That, that's exactly what this is. And, and we'll just watch something here. He's showing me one of his campsites that just got trashed by his drug dealer, Mikey. Not me. | 29.08 | 2.867385 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p40_BV1tu4y197NB_p40_m4-dialogue_0555931.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p40_BV1tu4y197NB_p40_m4-dialogue_0555932 | [S1] You know, I started, I started realizing the style more and more as I shot. You'll see, you can tell even in that, I'm, I'm amazed at how many, it was a 16 to 35 millimeter lens, and it's crazy how much I'm pulling there. [S2] Yeah. [S1] Throughout my filming, I did not go nearly that much. So actually, that's pretty crazy to see, you know, two and a half years ago what it, what the shooting was like. It, it improved quite a bit. But, you know, so basically, what we would do is, you know, we would take, I would take every, every day, I'd drop the footage, put it into a sequence, th- and then this would get, I would put it when I | 29.88 | 3.038773 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p40_BV1tu4y197NB_p40_m4-dialogue_0555932.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p40_BV1tu4y197NB_p40_m4-dialogue_0555934 | [S1] Uh, three of my, three of the four films, we've had a very strong working script. [S2] Mm-hmm. [S1] So, what, once you have the footage, um, sorry, once you have your footage transcribed, then that allows you to work on your film when you're not even in front of- [S2] Yeah. [S1] ... your editing software. You can read through it, you know? So you are missing the visuals, but, but you're under, you're seeing the dialogue, you know? You're seeing what is he saying. "Boat." You can highlight certain themes, whether this is green, meaning it has to stay, or yellow, meaning this is pretty good, or, | 29.88 | 2.929527 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p40_BV1tu4y197NB_p40_m4-dialogue_0555934.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p40_BV1tu4y197NB_p40_m4-dialogue_0555935 | [S1] One of the advantages of, of this style of kind of more scripting out your documentary is that you'll, you'll have in front of your computer all of your transcriptions from Rev, and then you'll also have, uh, the daily output, and you can, you can watch and read at the same time and literally start scripting your film outside of the edit. [S2] Yeah. [S1] And so when you come back to your edit, now- [S2] You have all this energy now. You're not just sitting there searching. [S1] Yeah. | 27.16 | 3.348376 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p40_BV1tu4y197NB_p40_m4-dialogue_0555935.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p40_BV1tu4y197NB_p40_m4-dialogue_0555936 | [S1] ... you're searching. [S2] Yes. You know what, you're going in with real intention. Like you're going in saying, "Okay, I know what I'm cutting in this scene. I know I want to get these clips." And you might get surprised. You'll always get surprised because often you're going to find moments, like cinemas, you know, you're going to find cinematic moments that don't come off a transcription, but you're going to see it and maybe it's not even the greatest line, but the way it's said or something. [S1] Yeah. [S2] You're like, and vice versa. Some stuff might be awesome in the transcription. [S1] Yeah. Yeah. [S2] But then you see it and you're like, "Ah, he's not saying that right." You know? So, but what it allows you | 29.88 | 3.07729 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p40_BV1tu4y197NB_p40_m4-dialogue_0555936.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p40_BV1tu4y197NB_p40_m4-dialogue_0555938 | [S1] And that's great. In this version, so this is interesting. This version, it didn't change much at all. It still looks like it's about five minutes. But see, you keep, I can keep going down and then now, let me pull up the latest, the final cut of the film and, you know, what does it actually end up being? Uh, you know, now we're down, there's opening credits. It's down to about, so here's the first time you- [S2] In and out, yeah. [S1] Right there. [S2] This | 29.88 | 2.960614 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p40_BV1tu4y197NB_p40_m4-dialogue_0555938.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p40_BV1tu4y197NB_p40_m4-dialogue_0555939 | [S1] ... the first scene of the film. [S2] So that, that turns down to about two and a half minutes. [S1] Wow. So you first said it, so it's 50% less. [S2] Which is, which is about right, 'cause, you know, on our first rough cut, it was about four hours, and it ended up coming down to an hour and a half. [S1] Mm-hmm. [S2] So it, that's just a really, for me, it's a really exciting way to make your film because, again, I think it can be very overwhelming and stressful dumping your footage in and start trying to- [S1] I would say it's like the gold miner. You're shaking and you're just leaving the gold there. | 28.04 | 3.123728 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p40_BV1tu4y197NB_p40_m4-dialogue_0555939.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p40_BV1tu4y197NB_p40_m4-dialogue_0555941 | [S1] Yeah, see, some of these days are shorter than others. This was an hour and a half day. Yeah, see, and then as I started getting into my filming routine, hour 15 minutes, so it wasn't even two hours, it was only, I, yeah, it was an hour 30, it looked like, an hour 15 every day. And the same process applied. So you'd go out for the day, you'd come back, you'd send it to Rev, get it transcribed. [S2] Yeah. [S1] You work off that scri- you start creating your script, and then once you've read it out, then you come back to your edit, and that's where you do your assembly. | 27.4 | 3.294807 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p40_BV1tu4y197NB_p40_m4-dialogue_0555941.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p40_BV1tu4y197NB_p40_m4-dialogue_0555942 | [S1] And I'll say this too, I think why Mikey's approach is so important is, you want a film like this where you're filming over the course of an entire year, he shaved off about a year of his editing by doing this along the way, and getting a transcription and getting another brain, a writer with, with him as well, looking at that. 'Cause what I find is a lot of people reach out to me and they say, "I have 100 hours of footage." Mikey had 100 hours of footage. [S2] Yeah. [S1] But | 25.88 | 3.251451 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p40_BV1tu4y197NB_p40_m4-dialogue_0555942.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p40_BV1tu4y197NB_p40_m4-dialogue_0555943 | [S1] He didn't have to be swimming in that, not sure what is what and what is up and down. [S2] Yeah. [S1] Where you, every day you had the same routine, you'd send it out. [S2] Yeah. [S1] And this is what you do, is repetition, discipline creates freedom. [S2] Yeah. [S1] So the discipline Mike had along the way created a lot of freedom for him then to shape the film later on. You weren't putting all your energy in just to trying to find, "Oh, what happened on this day?" [S2] No, exactly. | 20.64 | 3.172993 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p40_BV1tu4y197NB_p40_m4-dialogue_0555943.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p40_BV1tu4y197NB_p40_m4-dialogue_0555944 | [S1] ... it later. My, but it, that's up to you. Um, I think it's always good having, having extra, you know, being a, being a good filmmaker means getting a great team around you. [S2] Yeah. [S1] It really does. And, and even if it's just you out there filming, you know, having other voices try to, uh, bounce ideas off of it, it's, it's, it's great. So, yeah, I think that's really all I want to say about that. It's, | 22.48 | 2.874843 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p40_BV1tu4y197NB_p40_m4-dialogue_0555944.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p40_BV1tu4y197NB_p40_m4-dialogue_0555945 | [S1] So there it is, guys. Get your films transcribed, even if it's a short documentary. Often when I'm working with other directors or other editors, they'll send me a, a, a, what we call a paper edit, which is essentially just time code and quotes from the film. And it's actually a great place to start if you're not sure where to go. You find the voices in the film to say what you really want the film to say. [S2] Hmm. [S1] Awesome. See you guys in the next one. | 23.4 | 2.887995 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p40_BV1tu4y197NB_p40_m4-dialogue_0555945.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p47_BV1tu4y197NB_p47_m4-dialogue_0101257 | [S1] So, Dane, let's start talking about actually how to mic someone. We've talked about where to put a shotgun mic. [S2] Yeah. [S1] But now I know a lot of people who are watching this are going to be using lav mics. [S2] Mm-hmm. [S1] Whether it's if you're shooting a vérité film, we're talking about throwing a lav on someone. So are you going to lav me? [S2] I am going to lav you. [S1] Wow. | 17.6 | 2.804245 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p47_BV1tu4y197NB_p47_m4-dialogue_0101257.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p47_BV1tu4y197NB_p47_m4-dialogue_0101258 | [S1] ... this is exciting. [S2] Uh, but before we get to that, I'm gonna talk about some of the tools I use for- [S1] Okay. [S2] ... that. And when I, when I look at some clothing or whoever, whoever I'm gonna be labbing up- [S1] Yeah. [S2] ... I kinda assess what their outfit is and then based on that, I'll pick the attachments and that sort of thing. Um, but there's like, there's a lot of different labs on the market right now. Like, this is the one that comes standard with the Sennheisers. | 26.92 | 2.878967 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p47_BV1tu4y197NB_p47_m4-dialogue_0101258.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p47_BV1tu4y197NB_p47_m4-dialogue_0101259 | [S1] Just like, this is how I always used to do it, you know? You'd loop it through there or whatever, like that. [S2] Yeah. [S1] And then you just have it on the outside. This is how I used to mic audios, but I always used to, here's what I used to do. Maybe this, you can tell me, you know, if this is wrong, is I hated the mic sticking out. [S2] Yeah. [S1] So I would always try to like clip it to something or hide it so that, drop, give me the line here. I'll drop. This is where it would, it would look like, you know, and put it off to the side. [S2] Right. [S1] And what is bad about this? | 29.48 | 3.117991 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p47_BV1tu4y197NB_p47_m4-dialogue_0101259.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p47_BV1tu4y197NB_p47_m4-dialogue_0101260 | [S1] Um, to the chin, the more, uh, frequency content that gets- [S2] But, but let's say you're filming someone like me who has a t-shirt- [S1] Yeah. [S2] ... like this, and I have no change of clothes. [S1] Yeah. [S2] And you have no tape. You're, you're just out in the field, you have no tape. [S1] Yeah. [S2] You just have this. Where would you want me to put this? [S1] Then, yeah, you, your only choice there is to go to the collar and then just make sure it's not too scratchy and then deal with the EQ in post. | 23.64 | 3.33159 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p47_BV1tu4y197NB_p47_m4-dialogue_0101260.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p47_BV1tu4y197NB_p47_m4-dialogue_0101261 | [S1] But what we're saying right now, we'll get into everything else, is this is literally the worst setup. [S2] [LAUGHS] [S1] Pretty much the thing that everyone does, this is the worst lab setup. [S2] It can be, especially if you've got a, somebody who's got a, a beard like yourself and you're like, hit, like look down or whatever, and then it starts getting real scratchy. [S1] Yeah, yeah, you start hearing it. [S2] Yeah. [S1] I've even noticed when I mic myself and I touch my beard, it like, you start hearing it. [S2] Yeah. [S1] Yeah. So, that's why we wanna get a thinner mic. | 25.88 | 3.043129 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p47_BV1tu4y197NB_p47_m4-dialogue_0101261.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p47_BV1tu4y197NB_p47_m4-dialogue_0101262 | [S1] One like this. And now I'll pull out the tools that I've got for this. So for this one mic, I've got all these different- [S2] Wow. [S1] ... types of mounts. So these all have a different advantage. The one I use the most is this one here, and it fits this specific mic, um, | 20.4 | 3.295383 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p47_BV1tu4y197NB_p47_m4-dialogue_0101262.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p47_BV1tu4y197NB_p47_m4-dialogue_0101263 | [S1] It's made for it. So what I'll do is I'll, I'll, when I'm setting this up, I'll have the capsule po- poking out just a little bit, 'cause you don't wanna cover the capsule too much. I find with this, uh, if it slides in too far, you start hearing a lot of sibilance. [S2] What's sibilance? [S1] Sibilance is like, it's, it's like one of those onomatopoeia words. [S2] Mm-hmm. [S1] Uh, where, is it, is it onomatopoeia, where it, it sounds like it is. | 26.4 | 3.41199 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p47_BV1tu4y197NB_p47_m4-dialogue_0101263.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p47_BV1tu4y197NB_p47_m4-dialogue_0101264 | [S1] Yeah, yeah, yeah. [S2] Yeah. Sibilance is like one of those onomatopoeia words. So like, when you're saying sibilance, you hear those s. [S1] Oh, it's the s. [S2] It's the s. [S1] That's how my mom talks. [S2] Yeah. [S1] So good to see you. I'm so excited about the art of documentary. [S2] So the | 16.16 | 3.126957 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p47_BV1tu4y197NB_p47_m4-dialogue_0101264.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p47_BV1tu4y197NB_p47_m4-dialogue_0101265 | [S1] ... nice little hat. So what I'll do on this, there's this- [S2] If you're outdoors. [S1] If I'm outdoors. [S2] Mm-hmm. [S1] Uh, or if they're inside, even running or something. [S2] Okay. [S1] Um, I, what I would do is I'd flip this mount around. [S2] Oh, cool. [S1] Stick it up, clip it on, and then just shove it back in. [S2] And that's gonna get rid of some of the wind or- [S1] Yeah. [S2] ... or air rushing over the capsule. [S1] That's gonna help for sure. [S2] 'Cause like wind rustle, you can't get rid of that. | 29.64 | 3.147223 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p47_BV1tu4y197NB_p47_m4-dialogue_0101265.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p47_BV1tu4y197NB_p47_m4-dialogue_0101266 | [S1] Yeah, so what I'll do is I'll, I'll flip the ARM 11 around. [S2] Oh, bing. [S1] That's what the name, that's the name of this mount, it's the ARM 11. [S2] The little rubber square. [S1] Yeah. I'll get rid of this hair. [S2] I'm loving this 'cause I'm learning so much myself right now. [S1] And then just slide the cap right on. It'll clip. | 24.56 | 3.181303 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p47_BV1tu4y197NB_p47_m4-dialogue_0101266.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p47_BV1tu4y197NB_p47_m4-dialogue_0101267 | [S1] And then the double-sided tape will go on to that medical tape. If I know we're going to be filming a scene throughout the day where we're inside and outside, I'm going to start with this right here, with the wind cap on, on the arm 11. And then what I'm going to also have is this rykot softie on standby. Like if we do end up- [S2] A really windy day. [S1] Yeah. | 23.04 | 3.193959 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p47_BV1tu4y197NB_p47_m4-dialogue_0101267.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p47_BV1tu4y197NB_p47_m4-dialogue_0101268 | [S1] Yeah, if it's really windy day, like this doesn't cut out all the wind. So what I would do, like this, this is pretty extreme, like all this fuzz, so I've got some scissors in here. I'll trim a little bit of that off. [S2] [LAUGHS] You'll do a little hair styling. [S1] Yeah. But then what I'll do is, um, if it gets too windy, I'll pull this off their chests again, put a little snot tape around the top here and around the back, and then I'll just make a little kinda cave with this. | 29.4 | 3.281746 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p47_BV1tu4y197NB_p47_m4-dialogue_0101268.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p47_BV1tu4y197NB_p47_m4-dialogue_0101269 | [S1] ... that covers the whole thing. And then now you've got some extra wind protection, just like you have, uh- [S2] With a dead cat thing. [S1] Yeah, exactly. So it's just mimicking that. And then this is gonna give you much more wind protection. So that's usually, like, my last resort when I've, when it's getting real windy, I'll throw one of these on. [S2] Do you wanna actually show that? You wanna do that right here? [S1] Sure. Right on my bag, I got my tape stringer. | 23.76 | 3.274464 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p47_BV1tu4y197NB_p47_m4-dialogue_0101269.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p47_BV1tu4y197NB_p47_m4-dialogue_0101270 | [S1] ... to rub against it, to eliminate that rubbing. A shirt's always going to be louder than skin, unless they got a really hairy chest. Um- [S2] So you're saying tape it, if the shirt's going to be really noisy, tape it to the shirt? [S1] Tape it to the shirt. [S2] Interesting. [S1] But, uh, a shirt like this, you're going to notice it right away, which is why I'm on my chest right now. This one- [S2] Yeah. It's a thicker shirt. [S1] ... because it's a thicker shirt. May be able to get away with it. [S2] Let's see. [S1] Let's see. So if that's the case, I'm going to take | 28.24 | 3.232317 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p47_BV1tu4y197NB_p47_m4-dialogue_0101270.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p47_BV1tu4y197NB_p47_m4-dialogue_0101271 | [S1] Because I think it will show up a little bit on this shirt, just 'cause there's no pattern or anything. [S2] Mm-hmm. So- [S1] It's interesting. You're saying a blank shirt, things will show up more. But if I'm wearing, like, a plaid shirt- [S2] Yeah. If somebody's got, like, a colorful or, like, patterned shirt, then you can usually get away with sticking them, like, to the shirt, 'cause it's not really gonna show up. | 17.64 | 3.340906 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p47_BV1tu4y197NB_p47_m4-dialogue_0101271.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p47_BV1tu4y197NB_p47_m4-dialogue_0101272 | [S1] So you don't need a lot, just enough to kind of cover. And this, I've also find when somebody gets sweaty, if you get the tape on before they get sweaty, it's going to stick much longer. But if they're already sweaty, then you're not going to have a good time getting it stuck on. So you might just have to go straight to the shirt. [S2] So what about having a little towel though? [S1] Like maybe, a towel may not help because their pores are already going to be open. Maybe an alcohol swab would help with that. But, | 28.32 | 3.170322 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p47_BV1tu4y197NB_p47_m4-dialogue_0101272.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p47_BV1tu4y197NB_p47_m4-dialogue_0101273 | [S1] If they're already sweating and you haven't mic'd them up yet, then chances are they're just gonna keep sweating. So in that case, I would just try, go straight to the shirt because- [S2] Mm-hmm. [S1] ... it's gonna eliminate that later. So we got a piece of tape right here on Mark's chest. And I went a little bit higher on Mark's chest just for, uh, the purposes of this demonstration so he doesn't have to take his shirt off. Um, but it's okay to go that high | 29.04 | 3.258205 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p47_BV1tu4y197NB_p47_m4-dialogue_0101273.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p47_BV1tu4y197NB_p47_m4-dialogue_0101274 | [S1] ... with the mic, but usually you're going to have the best sound when it's a little bit further down, like a couple inches further down. [S2] So I have a little bit of hair on my chest. [S1] Yeah. [S2] Just a little bit. And, um, would I put, could you put medical tape over top of that? 'Cause I know one time I miked someone and I put one of those ry-coats and they were like, like it was the most painful thing ever for them. [S1] Yeah. | 19.24 | 3.116952 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p47_BV1tu4y197NB_p47_m4-dialogue_0101274.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p47_BV1tu4y197NB_p47_m4-dialogue_0101275 | [S1] Yeah, sometime, like it, it really depends. I hate micing to the chest, especially if, uh, someone has a very hairy chest. But sometimes it's the only place to put it, and I always apologize first and, uh, I'll ask them if they prefer to rip it off or if they want me to at the end. [S2] Yeah, yeah. [S1] Um, there are ways to avoid that if you are going to the chest. But yeah, now I'll just stick this right to that medical tape, press it on nice and tight, and that right there should be pretty good. | 28.76 | 3.236262 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p47_BV1tu4y197NB_p47_m4-dialogue_0101275.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p47_BV1tu4y197NB_p47_m4-dialogue_0101276 | [S1] ... kind of relieve some slack and that gives me the ability to move around without the need of, like, without feeling like the cable's being pulled off my chest. [S2] So we have a third channel. [S1] Yes. [S2] Put my hand over top. You can hear the different audio. My hand is in front of it. This is like if I had a thick shirt on. This is with the hand off. [S1] Oh, that'd be a really thick shirt. [S2] It'd be a really thick shirt. | 20.64 | 3.221129 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p47_BV1tu4y197NB_p47_m4-dialogue_0101276.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p47_BV1tu4y197NB_p47_m4-dialogue_0101277 | [S1] Um, and we're in Canada, man. We wear jackets. [S2] Yeah. [S1] So why don't, right, now I'm gonna just talk for a quick sec. Dane's gonna show you the difference now between the lav mic, that's what you're hearing right now, you're hearing lav mic. This is me talking with the lav mic. But now let's switch over to the boom mic. Now you're hearing the boom mic. This is Mark Bowen and I'm talking to you guys in the art of documentary. So you can begin to hear, what, what would people be hearing right now between those two things? Right now we're still in the boom mic. [S2] Yeah. [S1] They're hearing a more, kind of fuller sound. [S2] It's | 27.88 | 3.167462 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p47_BV1tu4y197NB_p47_m4-dialogue_0101277.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p47_BV1tu4y197NB_p47_m4-dialogue_0101278 | [S1] It's a fuller sound for sure. You're going to hear a little bit more of the space, but it's going to give you like a little bit more perspective of like the room, type of room you're in. [S2] Mm-hmm. [S1] Which, uh, I prefer. I like giving some of that perspective 'cause the lab sometimes can be super tight. [S2] Yeah. With the lab, it's, it's like the, you're only hearing what's kind of in this localized area. [S1] Yeah. And it's- | 22.8 | 3.319614 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p47_BV1tu4y197NB_p47_m4-dialogue_0101278.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p47_BV1tu4y197NB_p47_m4-dialogue_0101279 | [S1] Yeah, and it, it can be a bit less consistent, especially if you're, like, move your head off- [S2] Yeah, if I'm over. [S1] ... to the side or come back. Or, like, someone like Mark or other people who talk with their hands a lot, you can hear right now, like, my mic is kind of phasing because my voice is bouncing off my hands. Or if they, like, hit their chest or something, uh, you're safe from all of that stuff if you've got the boom above you. | 25.36 | 2.893763 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p47_BV1tu4y197NB_p47_m4-dialogue_0101279.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p48_BV1tu4y197NB_p48_m4-dialogue_0170066 | [S1] So let's mic us. [S2] Yes. So let's talk about micing different things. [S1] Yeah. So you, now you have a thicker flannel shirt on. Before, we showed this mic down here on, underneath this t-shirt. [S2] Yeah. [S1] The advantage is that this is a thicker t-shirt. [S2] Yeah. [S1] Um, tell me about this flannel shirt. How would you approach this? | 18.16 | 2.981555 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p48_BV1tu4y197NB_p48_m4-dialogue_0170066.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p48_BV1tu4y197NB_p48_m4-dialogue_0170067 | [S1] So right now, I'm still currently miked underneath my t-shirt. You've been listening to me on the boom so far, but now I'm switching over to the lav, and you can tell it's a little bit, uh, roughly or obviously not as- [S2] It sounds a bit covered. [S1] A little bit, yeah. So I'm gonna take it off right now, and I'm gonna re-mike myself, uh, to this shirt. [S2] Okay. Oh, that's some chest hair. [S1] A little bit. [S2] A little bit of chest hair. [S1] I don't have | 26.8 | 3.21201 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p48_BV1tu4y197NB_p48_m4-dialogue_0170067.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p48_BV1tu4y197NB_p48_m4-dialogue_0170068 | [S1] ... a little bit. [S2] A little bit of chest hair. [S1] I don't have too much chest hair, and I only took off two, so. [S2] Two. And now you only have four chest hairs left. [S1] Yes. [S2] Yeah. [S1] So you can see I've got the medical tape and the snot tape. Just took those off. Put those over here. So what I'm gonna do with this, there's a f- there's a couple ways to mic up a button up shirt. Uh, the first is if you are inside and you're in a controlled environment and you don't have to worry about wind, a buttonhole is always where I'm gonna go. | 29.04 | 3.065793 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p48_BV1tu4y197NB_p48_m4-dialogue_0170068.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p48_BV1tu4y197NB_p48_m4-dialogue_0170069 | [S1] So with a thinner mic like this, that can be done with something like the, uh, Sennheiser's, like the stock ones. [S2] Yeah. [S1] Can't really get away with it 'cause it's too big to fit behind the buttonhole. [S2] Yeah. [S1] But for this one, what I'm gonna do is I'm just gonna stick it right behind this one here. I'm not gonna go up too high 'cause it's gonna be too close to my throat. [S2] Yeah, we were talking about the best area for labs is a bit deeper in the chest. [S1] Yeah, right in | 25.4 | 3.321235 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p48_BV1tu4y197NB_p48_m4-dialogue_0170069.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p48_BV1tu4y197NB_p48_m4-dialogue_0170070 | [S1] ... all that I took. [S2] Wow. [S1] Just that little piece. I'm going to stretch it out so it gets a bit thinner. And then I'm just going to put a little bit around the top of this mic. Not a lot at all. You can- [S2] Well, you're going to write to the button. [S1] Yeah. [S2] Wow. [S1] So you can see I left a little bit extra here. That might be too much hanging off the side. So I'm just going to rip that little bit off. | 28 | 3.114932 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p48_BV1tu4y197NB_p48_m4-dialogue_0170070.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p48_BV1tu4y197NB_p48_m4-dialogue_0170071 | [S1] Now all I'm going to do is I'm going to pull it back through. [S2] I'm loving this because I'm learning so much right now. [S1] There we go. So right now it's sitting just behind the button. [S2] And as you can see in the wide shot, you're obviously looking for it. But if Dame were to walk into the room as a new person in a film, you would not, I'm not looking at it. It also, too, it matches the, the pattern. So, yeah. | 26.6 | 3.145372 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p48_BV1tu4y197NB_p48_m4-dialogue_0170071.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p48_BV1tu4y197NB_p48_m4-dialogue_0170072 | [S1] So I do have like tan ones too, just to match the button and stuff. Um, but I would, I wouldn't just leave it like this. What I would also do is I would get my medical tape again. [S2] You'd tape on the back. [S1] And then I would just put a tiny little piece here on this part of the cable so it doesn't get pulled through. Just like so. [S2] And medical tape works fine on fabric as well. | 25.84 | 3.042565 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p48_BV1tu4y197NB_p48_m4-dialogue_0170072.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p48_BV1tu4y197NB_p48_m4-dialogue_0170073 | [S1] Yep. Medical tapes great on fabric. And then that is a mic I'm going to be happy to listen to. [S2] Wow. [S1] And you can hear it right now. It sounds pretty crisp and clear. Um, obviously not as good as the boom, but it's still like, it's, | 15.16 | 3.064203 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p48_BV1tu4y197NB_p48_m4-dialogue_0170073.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p48_BV1tu4y197NB_p48_m4-dialogue_0170074 | [S1] not really gonna rustle that, that much. Like if I'm moving my shoulders, uh, it's gonna sound pretty great. So this is usually where I'm gonna go, um, on a button up shirt if I can. Sometimes the buttonhole is a little too tight and it's not gonna work. So my backup... [S2] Have you ever cut a buttonhole? [S1] No. [S2] Okay. That, that's my solution. [S1] [LAUGHS] [S2] I'm clearly not a sound guy. I'm like, "Yeah, so you cut their shirt, right?" [S1] [LAUGHS] | 25.08 | 2.975664 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p48_BV1tu4y197NB_p48_m4-dialogue_0170074.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p48_BV1tu4y197NB_p48_m4-dialogue_0170075 | [S1] And that's so we're not going through, like, 'cause sometimes it's folded, sometimes three times, so rather than going through two to three extra layers of clothing, you're going through just one layer. [S2] Exactly. So now if I, even if I leave this undone, so you're not, you're not really seeing the mic. [S1] And of course, Dane just has the mic hanging out right now. Normally you would run that underneath the shirt. [S2] Yeah. [S1] But what we're looking for right now is, I, we don't, you don't even know that there's a mic there right now. | 25.16 | 3.02645 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p48_BV1tu4y197NB_p48_m4-dialogue_0170075.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p48_BV1tu4y197NB_p48_m4-dialogue_0170076 | [S1] So I'm going to change shirts and I'll show, uh, another method. [S2] Awesome. Right, so now Dane's going to show us how to, uh, lav a fancy pants man. [S1] [LAUGHS] [S2] With a dress shirt. Maybe you're shooting a wedding, maybe you're shooting a business person if you're doing a corporate video, but- [S1] Yeah. [S2] ... this is often a shirt that you'll come in contact with. So how would you do this? | 19 | 3.00463 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p48_BV1tu4y197NB_p48_m4-dialogue_0170076.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p48_BV1tu4y197NB_p48_m4-dialogue_0170077 | [S1] Uh, well, if they're wearing a tie, 'cause we, we already went through, like, a button up shirt. [S2] Mm-hmm. [S1] Um, sometimes these dress shirts can be kind of, like, starchy sounding, so they're not all, always the best for... [S2] Yeah. [S1] ... buying. [S2] Yeah. And also, too, sometimes they can be really thin. [S1] Yeah. [S2] Yeah. [S1] Which this one is, you can kinda see through a little bit. So if you put a black mic underneath, you're probably gonna see that on camera. [S2] Yeah, poking through. | 23.32 | 3.297792 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p48_BV1tu4y197NB_p48_m4-dialogue_0170077.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p48_BV1tu4y197NB_p48_m4-dialogue_0170079 | [S1] ... the shirt. [S2] Yeah, so I'll go around the neck and then back it down, and then that way you can kind of follow the tie. Because if you try and just do it- [S1] Yeah, out of the shirt. [S2] ... like this, and then you've got like a cable here that you're trying to hide. [S1] Always hide. Yeah, yeah, yeah. That makes total sense. [S2] So if you come around, and then, let me just drop it down so I can see. [S1] You're gonna go through the loop? | 25 | 3.336371 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p48_BV1tu4y197NB_p48_m4-dialogue_0170079.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p48_BV1tu4y197NB_p48_m4-dialogue_0170080 | [S1] Yeah, I'm going to go through the knot, but on the back here. I'm not going to go through the front. [S2] No. [S1] I'm going to go on the back side. [S2] Want me to do it? You got it. [S1] I got it. [S2] He's a pro. [S1] So there it is. It's going to stick out the bottom here. [S2] Oh, you're just going to do it right out of the knot. [S1] Yeah. [S2] Oh, crazy. I thought you were going to go down the tie. | 27.84 | 2.905392 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p48_BV1tu4y197NB_p48_m4-dialogue_0170080.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p48_BV1tu4y197NB_p48_m4-dialogue_0170082 | [S1] So now we kind of got the mic run through the shirt. I've gone around my neck and then back down the front. Uh, if they got a jacket on or something, you could even just go straight down the back. [S2] But now I see this, so what do you do? [S1] Now you see this. [S2] Yeah. [S1] So what I'm gonna do is I'm gonna get my snot tape out one more time. [S2] There you go. [S1] Again, you don't need a lot for this. Just a tiny little piece. | 23.24 | 3.030936 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p48_BV1tu4y197NB_p48_m4-dialogue_0170082.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p48_BV1tu4y197NB_p48_m4-dialogue_0170083 | [S1] ... the fifth of a penny. It's like the size of a half, half of a pinky. [S2] Yeah, you don't need a lot for this. [S1] Yeah. [S2] And then again, I'm just gonna go right around the end. | 11.48 | 3.081812 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p48_BV1tu4y197NB_p48_m4-dialogue_0170083.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p48_BV1tu4y197NB_p48_m4-dialogue_0170084 | [S1] Just to kind of keep it in place. And this is gonna also add some separation from the mic and the fabric. [S2] Incredible. [S1] Stuff it right back up. [S2] This feels like CIA stuff, like you're gonna be- [S1] Yeah. And often you can get away, like if you've watched a show like "Suits" or something, you'll usually see a mic poking out the- [S2] Will you? [S1] ... tie. Yeah, like pretty much every scene. | 20.72 | 3.068317 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p48_BV1tu4y197NB_p48_m4-dialogue_0170084.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p48_BV1tu4y197NB_p48_m4-dialogue_0170085 | [S1] ... of suits. [S2] And the fact that you have seen the show and you didn't even realize that, you can get away with showing a little bit of mic at the bottom of here. But now you can hear this mic. It sounds pretty good. Uh, it's gonna be a lot closer sounding. So when I do this, I'm gonna make sure that my gain on my transmitter is not too high because it's gonna be much closer to the mic source- [S1] I see. [S2] ... or to the sound source than it would've been when it was a bit further down. Um, so yeah, it's at a good level there. | 28.04 | 3.234969 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p48_BV1tu4y197NB_p48_m4-dialogue_0170085.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p48_BV1tu4y197NB_p48_m4-dialogue_0170086 | [S1] And then I would just make sure that the cable isn't sticking out here too much. So to do that, I would just kind of wrap it back around. [S2] And you could use some more medical tape or something. [S1] Yeah, get some more medical tape and just tape it back here. [S2] There you go. [S1] But then, yeah, you got a good-sounding tie mic and, like, any corporate thing you do or, um, wedding, yes, it's, this is a great spot to put it on the, on when somebody's wearing a tie. [S2] Or if it's Avalor Bean. [S1] Yeah, or if it's Avalor Bean. [S2] [LAUGHS] | 28.04 | 2.984052 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p48_BV1tu4y197NB_p48_m4-dialogue_0170086.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p48_BV1tu4y197NB_p48_m4-dialogue_0170088 | [S1] Just buying a few little pieces of tape can go a long way. Having snot tape and medical tape, as well as knowing how to mic different shirts, different people. [S2] Mm-hmm. [S1] So, Dane, I, I actually learned so much today. [S2] [LAUGHS] [S1] I've just been sitting here being like, "Oh, wow, I didn't know that." So this, this makes me want to step my audio game up, um, 'cause I don't always have the opportunity to have you on set. So when I don't, I'm definitely gonna be applying these. But thank you. Uh, leave any comments below, guys, if you have any more questions about | 28.04 | 2.944989 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p48_BV1tu4y197NB_p48_m4-dialogue_0170088.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p48_BV1tu4y197NB_p48_m4-dialogue_0170089 | [S1] ... Miking. Uh, we'll do our best to try and answer them, but this was awesome. So thank you, Dane, for coming in and having- [S2] Thanks for having me. [S1] ... such a, a thorough, uh, um, description of miking people and how to do good audio. Awesome. [S2] Yeah. Thanks for- | 11.92 | 3.399442 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p48_BV1tu4y197NB_p48_m4-dialogue_0170089.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p49_BV1tu4y197NB_p49_m4-dialogue_0693601 | [S1] is just how much better the audio is going to be from all our other videos. And that's 'cause Dane is a professional sound guy. Dane has done jobs for, I don't know, like Vice, uh, CBC. I'm gonna probably say CNN at some point. You've done it for all the big- [S2] NBC. [S1] NBC. He's worked on films that are on Netflix. Dane's like real list of projects he's worked on is insane. Today's video is gonna be probably one of the longest videos I'm guessing that we're gonna have offered in this course. And that's 'cause Dane is a master of audio. | 29.96 | 3.087676 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p49_BV1tu4y197NB_p49_m4-dialogue_0693601.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p49_BV1tu4y197NB_p49_m4-dialogue_0693602 | [S1] Right now, you can see on my iPad, I've got three levels coming in. Um, this one obviously is a boom mic that's right above my head. I've got a lav mic on myself right now. Um- [S2] Right here? [S1] Yeah, this one right here probably sounds real good. Uh, and then you've also got your own boom mic. [S2] Yes. Hey, one of our pieces of gear made it in. Wait, this is yours. We have, ours is on Mikey's camera right now. [S1] [LAUGHS] [S2] None of, none of our audio gear made it in. [S1] No, I think I'm using a stand of yours. | 29.28 | 3.001539 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p49_BV1tu4y197NB_p49_m4-dialogue_0693602.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p49_BV1tu4y197NB_p49_m4-dialogue_0693603 | [S1] Okay. [S2] Perfect. Perfect. [S1] For the second boom. [S2] Um, but this would be like a typical setup, but I always lab and boom somebody. I haven't labbed you yet because I'm planning on demonstrating that. [S1] Yeah. [S2] So right now, we're, everything we're hearing from you is on your boom. [S1] Okay, cool. Um, this is what you're hearing, guys. You're hearing me through the boom right now. [S2] [LAUGHS] [S1] That's, this is how I usually do interviews. [S2] Yeah. So chin up a little bit more. [S1] Yeah, yeah, yeah. [S2] Yeah, perfect. Right into the- [S1] Yeah, so here's, | 26.08 | 3.2409 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p49_BV1tu4y197NB_p49_m4-dialogue_0693603.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p49_BV1tu4y197NB_p49_m4-dialogue_0693605 | [S1] one of those. [S2] Yeah. Well, for each one of those, I'm always gonna have a boom and a lav on the character, uh, as much as I can. It's harder sometimes in a verite scene or depending on the action, but definitely in an interview, I'm gonna have a similar setup to this where I've got the boom mic above me here, uh, just out of frame in the wide shot. [S1] Uh, and ideally, how far do you want a boom mic from someone? | 23.92 | 3.303 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p49_BV1tu4y197NB_p49_m4-dialogue_0693605.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p49_BV1tu4y197NB_p49_m4-dialogue_0693606 | [S1] ... is what I never know. [S2] You want the boom mic as close as you possibly can. [S1] Yeah. [S2] So like right now, this boom mic is just outside of the frame in the wide shot. And it's pointed not at my forehead, it's actually pointed like at my chest right now. [S1] And it's about, it's about that far away from Dean. | 15.24 | 3.340711 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p49_BV1tu4y197NB_p49_m4-dialogue_0693606.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p49_BV1tu4y197NB_p49_m4-dialogue_0693607 | [S1] Roughly, yeah. It's as close as it can be. Like if I could, I would bring it even closer, uh, if the frame allows, but you're gonna wanna get it as close as possible just so you have the best signal to noise. You're gonna have the less, like least amount of excess, uh, reflections and stuff from the room. So this is gonna get you the best- [S2] Just talk about that. You say reflections. What is, what is reflection in sound? [S1] Well, we, we're gonna get to that. [S2] Okay. We're gonna get to that. [S1] So maybe we'll- [S2] We'll look out for reflections later on. | 25.56 | 3.184781 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p49_BV1tu4y197NB_p49_m4-dialogue_0693607.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p49_BV1tu4y197NB_p49_m4-dialogue_0693608 | [S1] Um, but yeah, definitely as close as you can get it. And, uh, it's always helpful to have a boom stand or something with a boom buddy. Um- [S2] What is a boom buddy? Mike, you get a shot of the boom buddy. [S1] Yeah. So we've got a boom buddy up there. It's, uh, doesn't hurt your boom pole or whatever you've got. Uh, if it sits right in a grip head or, um- [S2] And essentially, a boom buddy allows your boom pole to rest and get it out as far as you need. And because of the way it's designed, it helps distribute the weight so that your C-stand won't necessarily tip over. | 29 | 3.348413 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p49_BV1tu4y197NB_p49_m4-dialogue_0693608.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p49_BV1tu4y197NB_p49_m4-dialogue_0693609 | [S1] Yeah, get a, get a stand, get it out of frame as close as possible. Like, if you can, try to avoid having, uh, just the shotgun on the camera, 'cause it's not gonna be as close as it can be. And pointing straight at somebody actually doesn't sound quite as good as pointing straight at their chest, 'cause there's a lot of resonance here and stuff that you hear, um, even with your ear, that if you're pointing at their mouth and, with a shotgun that's really directional, you're gonna miss some of that, like, low end. So- [S2] Interesting. [S1] ... it'll give you a fuller sound. | 29.08 | 3.231251 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p49_BV1tu4y197NB_p49_m4-dialogue_0693609.mp3 | [
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