Creative Field Recording

10 stories

Creative Field RecordingAudioStreamline Your FX Curation Workflow with basehead AI – Part 2 Creative Field Recording Exploring the new basehead AI Skills for streamlining sound library metadata workflows.

10.22

Creative Field RecordingAudioStreamline Your FX Curation Workflow with basehead AI – Part 1 Creative Field Recording Learn how to streamline your field recording sound fx curation with new basehead AI features - part 1

09.30

Creative Field RecordingAudioCatching up with basehead: New Features + Interview Creative Field Recording Earlier I had a sneak peek at a few game-changing features for the sound-search software, basehead. They were still in beta at the time.

09.23

Creative Field RecordingAudioRevisited: A Step-by-Step Røde Blimp Suspension Upgrade Creative Field Recording Revisiting solutions for adapting a Røde Blimp – this time with a Radius Rode Blimp spacer solution

08.12

Creative Field RecordingAudioFirst Look: Reverie Sound Design Software Creative Field Recording A first look at the Reverie sound design software: overview, versions, DSP options overview, and bonus creator interview

08.05

Creative Field RecordingAudioRoundup: Every Tip for Recording, Editing, Curating, and Selling Sound FX Creative Field Recording A roundup of sound fx tips for field recording, editing, curation, and selling sound effects.

07.15

Creative Field RecordingAudioSound Library Publishing Tips: 6 Common Mistakes and How to Fix Them Creative Field Recording Sound library tips for field recordists and sound effects publishers

07.01

Creative Field RecordingAudioSound Effects Curation Tips: 4 Common Mistakes and How to Fix Them Creative Field Recording Sound effects curation tips for crafting better field recording names and keywords

06.10

Creative Field RecordingAudioSound Library Tips: 6 Common Sound FX Editing Mistakes and How to Fix Them Creative Field Recording Learn 6 sound fx mastering mistakes – and sound effects editing tips for fixing them.

05.27

Creative Field RecordingAudioInterview: Simon James French of Kyoto, in Sound Creative Field Recording An interview with sound artist Simon James French of Kyoto, in Sound

05.20

The small bracket on top of every camera, from a phone rig to an ARRI.

The hot shoe is where the flash goes, and the microphone, and the monitor, and whatever the next decade bolts on. Every camera has one and nobody photographs it. This magazine is named after it because that is where the whole business meets: the body, the glass, the light, the sound, and the person holding it.

I shot news in Gothenburg for nine years and documentary for hire after that, then stopped taking assignments to write about the tools. Since 2021 I live in Tokyo, ten minutes from the used-camera shops of Shinjuku, which is not an accident: Canon, Nikon, Sony, Fujifilm, Panasonic, Ricoh and Sigma make almost everything worth pointing at a subject, and their own press writes about it first, in Japanese. So this magazine reads it there, and in German, French, Italian and Spanish, and in English from the reviewers who actually put a card in the slot — around eighty sources and thirty channels, counted and plotted so you can see what is moving.

Bodies and lenses, cinema cameras and drones, film and the darkroom, firmware and the software that finishes the picture, the rumours before the launch and the reviews after it, and the photographers and shows the rest of it is for. I test what I write about on a job before a word goes down. I shoot film on Sundays and do not think that makes me interesting.

A story here is a headline, a short excerpt, one picture and the link to whoever reported it. We never reprint the article, and the picture belongs to the photographer or the maker. A story written in Japanese appears in Japanese, as its author set it down; the link goes to the original.

— Mara Lindqvist, Tokyo