Archive for the ‘Audio Recording’ Category

NAB 2012 Best Accessory: Roland R26 Portable 6 Track Audio Recorder

by Jackson Wong | April 18th, 2012

Best accessory – Roland R26 Portable 6 Track Audio Recorder


We know first hand how useful handheld field recorders are, and the R-26 is sure to be a valuable tool for any videographer. Being able to record six tracks may seem like overkill for video, but it’s actually three stereo and will make it great for interviews and still allow for recording an on-camera mic or ambient mic. The recordings come in as WAVE/BWF or MP3 and use SD cards. As for inputs to compliment the built-in XY mic, the R-26 sports two phantom powered combo XLR and TRS jacks as well as a plug-in powered miniature mic.


The body of this recorder has two prominent knobs for adjusting volume, which is much preferred to camcorders or other recorders that use an on screen button or side wheel. Overall, the R-26 screams efficient functionality, and sometimes, that’s just what we want.




NAB 2012: Sennheiser’s SKP 300 G3

by Jackson Wong | April 17th, 2012

Sennheiser SKP 300 G3 plug-on transmitter is a very handy accessory to just about any audio kit. The transmitter allows those top-notch microphones to become wireless, saving space by eliminating cables which also provides freedom. No wireless signal is complete without a receiver, and the EK 100 G3 is welcome match here.

The applications are numerous, for news reporters, this allows more freedom in the mics to chose, as well as the liberty to move from place to place without being dragged down by cables. Event video companies should be able to provide emcees or other speakers with mic very quickly with the SKP 300 G3. Narrative film makers can get creative with a full compliment of mics.

There are eight frequencies available, and three variants to the model that reach different portions of the spectrum, SKP 300 G3-A is 516-558MHz, SKP 300 G3-G is 566-608MHz, and SKP 300 G3-B is 626-668MHz. Each of these maintains the same overall price of $530. Power is provided to both the transmitter and condenser mics by a pair of AA batteries. Being able to provide phantom power only furthers the versatility that this box represents. If you don’t want the power to be shared from one source, opt for a sensible accessory, the rechargable battery pack, SK2015-G2. As for physical presence, the SKP 300 G3 measures nearly 14-inches on its longest side, then about 3×5-inches for the rest of the round edged 24oz. box.

Our team at NAB 2012 was rather impressed with the universal capabilities of the SKP 300 G3, so they saw it fit to check out, snap a pic and make sure anyone that’s interested can find it for themselves. We like the fact that it’ll reduce our dependence on a single complete wireless system and will make it simpler to swap wireless mics.

Please discuss in the Videomaker forums.

The HXR-NX30U – a Handheld Professional Camcorder

by Jackson Wong | April 3rd, 2012


Who says a professional camera can’t fit in your hand?

Sony’s HXR-NX30U is a new image shattering camera that takes professional features and contains them in a compact, versatile form. Our critieria for dividing professional from consumer cameras include image sensor size, outputs, and whether or not it has XLR inputs. This camera exceeds these marks with a large 1/2.88-inch Exmor R CMOS sensor, HDMI mini out, and two detachable XLR inputs.

Now cram in two more features that could represent entire pieces of equipment – a camera stabilizer and monitor. We liked how effective the Balanced Optical SteadyShot was at CES 2012, so when added to a handheld pro camera, it makes a lot of sense. Now, you can get as big an LCD screen as you want, it won’t beat 100 inches as projected onto a flat surface (at 16 feet.) The Carl Zeiss lens cuts down on rolling shutter artifacts while the range of frame rates are 60p,  60i, 30p, and 24p all at HD quality.

Recording AVCHD with 96GB internal memory should make the job enjoyable as will the versatility of using either SD or Memory Stick cards. The detachable XLR inputs are really a feature to behold as you’ll be able to capture high quality sound and have one of the biggest defining factors that separate videos. There is also an option for Linear PCM audio recording. A nice touch is being able to really control the time code as well.

Now, what will your clients think when you pull this camera out of your bag – remember, you can also use your highest quality mics too. You may need to project the confidence that comes with having your stabilizer and projector combined in one device, it probably won’t hurt to be able to show them some sample footage with camera movement and presented via the projector.

The HXR-NX30U is planned to be available in June for a suggested list price of less than $2,500.

On YouTube, Good Audio Will Put Your Video Ahead of the Pack

by Mike Wilhelm | February 13th, 2012

One of the most common questions we get from beginning video producers is “how do I get my video to be more like what I see in movies and TV?” It used to be that everyone was looking for that 24p, shallow depth of field look that film has, but with modern DSLRs that look has become so common it’s no longer an issue for most people. While there’s a lot that new videographers can do to increase the professionalism of their video, the number one thing that separates the amateurs from the pros on the web is audio. You could (successfully) argue that good lighting, editing, and composition is also very rare on YouTube, but in the age of guerrilla filmmaking, even the pros are neglecting many of the fundamentals. If you ever watch reality TV, I’m sure you know what I’m talking about. On YouTube, and sites like it, you’ll find videos with varying degrees of production quality. The line that separates amateur from professional is drawn between good and bad audio.

One thing that you will hardly ever see (or hear) from a professional production, however, is bad audio. Why is this the case? Why is a medium that is so heavy on visuals so reliant on audio? The big reason is that humans are very good at absorbing information from a visual source, but not as good with audio. If we see video that’s lacking details, but can easily hear what’s going on, our brains will fill in the blanks where the visuals are lacking. That’s why whenever you see grainy, pxililated dash cam car chases on Silliest Police Chases 19, you can hear every police siren, tire screech, and metal crunch (these sounds are all added in post, but that’s another story). The video itself is ugly and hard to make out, but by being accompanied by good sound, our brains complete the picture for us.

Because we use sound so much to interpret video, bad audio, or audio that is difficult to hear, is extremely frustrating for the viewer, even if the picture is crystal clear. Consider a talking head recorded with the on-camera microphone. It doesn’t matter how great the lighting is, how emasculate the set is, or how crystal clear the picture is; if the viewer has to strain to understand what the person is saying, you can bet they’ll click to the next video. Conversely, if the same person is recording to VHS, in their garage, with natural lighting, but is wearing a lavalier mic, and every word can be heard clearly, the viewer is much more likely to continue watching.

So why is good audio so rare on YouTube? Let’s ignore the videos of cats and planking, where sound isn’t really an issue, and focus on scripted content. Firstly, YouTube directors just don’t think about recording sound when they’re planning their production. This goes back to humans being visual creatures. Just remember that that only means that we need extra help when it comes to audio. Secondly, recording good sound is an added cost on top of the cost of the camera, tripod, lights etc. Thirdly, YouTube directors may simply be inexperienced with audio equipment and be unwilling to invest time and money for a tool they’ve never used before. If that’s the case, there are some great resources out there to help you learn the ropes.

Good audio won’t make up for bad content on YouTube, but if you’re confident in your production, having good sound will elevate your production quality to a level above most everything else on the web. If you pick up an affordable mic and shoot once or twice while capturing good audio, I’m confident you’ll find that it makes such a big difference in your production quality, that you won’t even consider shooting without it again.

DSLRs’ Audio Limitations: Azden’s Newest Mixer May Be the Ticket

by Richard Ober | February 8th, 2012

We all know the important place that DSLRs now have in the world of video production. The versatility of these cameras, the ability to alternate between still photography and video at a shoot, the interchangeable lenses, large processors, and more, have all meant that DSLRs are an attractive option for shooting video. At Videomaker we’ve written about a large number of these cameras and we continue to be impressed. But there has also always been a number of significant and important distinctions between prosumer camcorders and DSLRs and at the top of that list is… audio. Without an XLR input for recording sound, DLSRs depend on add-on accessories and/or separate audio recorders which then can, of course, complicate the work in post.

That’s where companies like Azden step into the picture.

Azden has just announced their professional low noise audio mixer designed specifically for DSLR cameras, the FMX-DSLR. We at Videomaker are looking forward to taking a closer look at this audio mixer and pairing it with the DSLR cameras we shoot with here. For now we can report that this small device can be mounted directly between the tripod and camera and is powered by four “AA” batteries. The FMX-DSLR includes a switchable AGC circuit for noiseless operation, 2 XLR microphone inputs with individual level controls and switchable phantom power, stereo mini jack microphone input, mini jack line level input, stereo mini plug microphone output and headphone output with level control. LED peak level indicators, input return function (RTN) to monitor camera audio and a power switch with power on/low battery LED. Azden indicates that this device has an MSRP of $400.

As audio solutions like the FMX-DSLR continue to come along, they will certainly work to further blur the line between cameras best suited for still shooting and those able to straddle the line between the photographer and videographer.

We’re Living in a Golden Age of Video Production

by Mike Wilhelm | February 6th, 2012

We live in an age were most every family in America owns a video camera and editing software, even if they never sought out either. Anyone with an internet connection can put their video online where it can be seen by everyone on the planet. The web has given anyone who wants it, access to far more information than any film school alone can provide. The world of video production has entered a golden age. There are no more excuses not to pursue whatever goals you hope to achieve with video.

In the late ’90s, when the average middle-class American could purchase video editing software to run on the home computer they already owned, it was clear that we were entering a new era of video production. Consumer camcorders were already common, but with non-linear editors entering people’s homes, so too, was a quality of production reserved only for professionals or those willing to spend thousands on uni-tasking equipment.

Consumer video production stayed at that point for about 10 years, as individuals shot SD footage on their home camcorders and edited on their PC or Mac.  In the last few years, however, we’ve seen a surge forward in the process of consumer level video production. It’s a result of computers and cameras getting cheaper, and moving into every electronic device in the home.

When The Blair Witch Project came out, people were amazed that someone could shoot an entire film that would be released world wide, on a simple consumer camcorder. Today, an iPhone 4S could easily take better quality video and cost significantly less. The only reason, I believe, that we haven’t seen a nationally released film shot entirely on a smartphone yet is simply because an upgrade in picture quality and functionality can be purchased for under a thousand dollars.

It’s not just the cost of quality cameras and accessibility of editing software that is bringing good looking video to the masses, it’s also the size. It turns out that a fluid-head tripod capable of supporting a 3lb camcorder doesn’t cost a lot of money. The same can be said about slider dollies, jibs, and even stabilizers.

Of course some equipment is as pricey as it’s ever been. Lights and microphones, for example, don’t seem to be getting any cheaper, but we live in the age of the internet. It’s much easier to learn from others about how to build your own lighting rig, or even record studio quality ADR straight into your laptop or iPad.

Cameras and editing systems are getting cheaper by the day, and the free flow of information on the internet is making it easier than ever to break into video production. As a result, Hollywood is losing its hold on the film industry, which is a good thing for both consumers and producers of great video.

Add a Spark Digital to Your Mic Arsenal

by Jackson Wong | January 20th, 2012

Blue Microphones shows you Spark Digital, one of the new mics they presented to us at International CES 2012. It also came away with our award for Best Microphone. This mic is a small update of the Spark. What’s new here is the ability to interface with Apple products via its 30-pin connection. What that means however, is up to you. You might sit this next to your iMac with GarageBand ’11 and record away. Maybe your mobile device is too busy to be your audio recorder in addition to calling, or browsing, or gaming. We hope not, lugging around more equipment is almost never desirable, but when your iPhone doubles as your audio recorder, there’s one less piece of equipment to carry. Being able to record onto mobile devices with the Spark Digital allows you more versatility with a mic that is already competing for a spot in your sound booth setup.

In addition to versatility, getting great audio is one of the biggest strengths of the Spark Digital. With a frequency response of 26Hz – 20kHz and sensitivity at 28mV/Pa, it has great range. The signal to noise ratio of 84db should be plenty for those of us that aren’t recording a VO with John Ratzenberger. There is also a switch which allows you to control the focus of the frequencies the mic picks up. The mic allows you to mute it or monitor quite easily with an LED meter controls for volume and gain. A direct headphone jack also allows for real-time monitoring no matter what device you use to record.

It interfaces with USB 2.0, so feel free to plug and play with Macs and PCs alike. Quit discussing computer manufacturers and keep it light, Spark Digital aims for pleasing any audio needs. There are fewer and fewer situations that a mic like this isn’t a good fit for.

The Spark Digital updates what the Spark did well, combining USB inputs, direct headphone monitoring and focus control to make it a clear twin.

Get on the RØDE with VideoMic and VideoMic Pro

by Jackson Wong | January 17th, 2012

Two new mics from RØDE are welcome additions for anyone shooting video on DSLRs. The VideoMic and the VideoMic Pro are very similar, and either one sounds like it will be very capable of recording good audio. In fact many of the specs like frequency range 40Hz-20,000Hz, dynamic range 114dB (per IEC651) and signal to noise ratio, 74dB SPL are exactly the same. Both have features that allow it to be used in multiple situations, high pass filters for different audio environments and 3/8-inch thread for stand or boom mounting.

The biggest differences to notice are really between these and other mics, small and designed specifically for a standard cold shoe, these mics bring warranted quality in a very mobile super-cardioid mic. Other notable differences include weight, the VideoMic is a rugged 6.2 oz, but the Pro is half that coming in at 3 oz. Also on the note of dimensions, the VideoMic extends nearly four inches longer than the Pro’s 6-inch length.

A windscreen is included with the VideoMic to round out the simple differences, but either way, both make use of an integrated shock mount so as to reduce the amount of unwanted vibrations or handling noise that will be recorded. Really, the one aspect of these mics that seems like it wasn’t built for your video kit is the 9V battery requirement. The pro version boasts at least 70 hours of use. The other aspect of mics this size is the lack of XLR output, the only output is via 1/8-inch, but then you wanted to use this with your DSLR anyway right?

For video producers, a super cardioid is one of the most handy types of mic to have, and these two are exceptional options. Strongly considering picking one up for their versatility, portability and quality, and with a ten year warranty and reasonable cost, it is likely that the VideoMic, 249, or the VideoMic Pro, 329, will put your productions in motion.

Videomaker Best of CES 2012 Awards Announced

by Daniel Bruns | January 12th, 2012

CES 2012 is nearly over and if you’re like us, you’ve probably passed the point of information overload even before the annual tech show began. Even so, we’ve decided to help you sort things out by showing you our picks for this year’s Videomaker Best of CES awards. Videomaker’s Best of CES awards were created to help you find products that were especially innovative, affordable, dependable, easy-to-use, and most of all products which empower each of you to make better video. So we’ve scoured the show floor, trekked many miles, and ruined more than one good pair of shoes to find out once and for all which CES products would do just that.

Best of Show: Nikon’s D4 DSLR -

It’s no surprise that our biggest award of the show went to Nikon’s newest DSLR, the D4. With features like an ISO range of 50 to 204,800, 1080p video with an uncompressed HDMI output, and an FX-format (36mm x 23.9mm) sensor, this DSLR has many features that videographers have been wanting in a DSLR for years. An interesting new feature is the camera’s ability to use a new 2.7x Crop mode to zoom into an image on a sensor without losing any of the 1920×1080 quality of the picture. This means that you can easily turn a 35mm lens into a virtual telephoto lens instead. The camera also has on screen audio indicators and a 20 step audio adjustment making this a real force to contend with in the DSLR world.

Best Lighting: Sunpak’s LED Video Lights -

We’ve seen lights like these before but never in such quantities and interesting designs. At CES 2012, Sunpak unveiled 5 LED products ranging from their DSLR67 ring light (that attaches directly to a DSLR lens) all the way up to their LED 96 which sports 96 high-powered LED’s. Best of all, almost all of their lineup runs off of easy-to-find AA batteries and can be attached on any camera’s shoe mount.

Best Microphone: Blue’s Microphone’s Spark Digital -

We’ve been impressed with Blue Microphone’s products ever since we laid eyes (or ears?) on their surround sound microphone the Snowball, but they’ve managed to impress us again with their newest offering at CES, the Spark Digital. The Spark Digital is a cardioid, solid-state condenser microphone that provides two different usage modes at the touch of a button: the Normal mode which is supposed to provide increased low frequency for those times when you need to sound like Don LaFontaine, and a Focus mode which changes the microphone’s frequency response in order to pick up more clarity and detail. The newest part about the Spark Digital is that it offers both USB and iPad connectivity. Better yet, Blue Microphone even thought to include a custom shockmount and pop filter for the microphone so that nothing will stand in the way of capturing the kind of audio you need.

Best Software: Corel’s VideoStudio Pro X4 Editing Software -

When we reviewed Corel’s VideoStudio Pro X4 back in October, we loved how easy it was to bring a project from start to finish. At CES 2012, our minds still haven’t changed. We love how VideoStudio Pro X4 offers great support for beginners by offering the Corel Guide – a useful repository for video training, customer support, and user forums. We also like how the software also offers dual screen support (something most introductory editing software leaves to the pros) and an easy stop motion video creator making VideoStudio Pro X4 a great choice for the Best Software at this year’s CES.

Best Computer: Lenovo’s IdeaPad Y580 Notebook -

Though NAB is where the real workhorses come out to play, we really enjoyed the power and affordability of Lenovo’s IdeaPad Y580. It has JBL speakers, an optional Blu-Ray burner and Intel’s Wireless Display technology. You can also get up to 8 GB of RAM along with a Core i7 processor in this beast to boot. As for the display, the Y580 sports a 1920x1080p  screen and has a 2GB GTX66M card to drive it. Not bad for a laptop that starts at $899.

Best Storage Device: Lacie’s 2big RAID Drive with Thunderbolt -

LaCie never fails to do something big in the world of hard drives and this year was yet again no exception. LaCie introduced a new version of their popular 2big that now has the power of Thunderbolt which gives the drive speeds up to 311 MB/s. The 2big also conveniently adds RAID technology to protect all of your valuable footage and has hot-swappable drives so there’s never any need to reboot the system in order to upgrade or repair the drive.

Best Support: iOmount’s iOstand and iOmini -

iOmount is a brand new company at CES, but that doesn’t mean it’s any less eligible for the Best of CES award. No, if you have a product as innovative as they do, there’s no way we would be able to keep from talking about it. iOmount stood out for its innovative mounting idea for iPad and iPod-like devices. Their mounting device allows a free and unobstructed rotation of any device using a ferro-magnetic sphere and a specially engineered magnetic carrier. In laymen’s terms, this means you can mount your iPad easily to the stand just by placing snapping it into place and then rotate your iPad without the need for holsters or locks. In addition, iOmount plans on releasing an articulating arm so that you can have your iPad or iPhone over your bed while you read a book or text message hands-free.

Best Bag: Tiffen’s Domke RuggedWear Camera Bags -

Tiffen has been a leader in optical filters for years but camera bags? You bet. At this year’s CES, Tiffen released a new line of Domke RuggedWear camera bags meant for almost any situation you might find yourself in. Each Domke bag is made of weather-tough and durable cotton canvas along with a strap made of durable cotton webbing and a steel snap hook so they’re built to last. They were also designed from the ground up to be easy to carry and easy to clean which we always love to hear.

Best Accessory: GoPro’s WiFi BacPac -

Though GoPro announced the WiFi BacPac earlier in the year, Videomaker had yet to see what this unit could really do – until now. GoPro’s WiFi BacPac gives GoPro’s popular Hero and Hero2 cameras the ability to transmit live video streams to a smart device such a a tablet, smartphone, or computer while at the same time being able to control a bevy of video options as well. As a result of using WiFi, this remote can travel over an incredibly long distance without losing signal – something that any videographer capturing a sporting event will love.

Best Camcorder: JVC’s GY-HMQ10 4K Camcorder -

JVC has seemed to hit the ground running this year by announcing a new 4K camcorder at CES 2012 and we were impressed. The camcorder can record at a resolution of 3,840 x 2,160 pixels using its Falconbird processor and 1/2 inch sensor, can record to SD cards, and has 2 phantom powered XLR ports. Though it has a fixed lens for now, we’ve heard rumors of an interchangeable lens concept coming soon – but that’s our little secret.

Spotlight Award: Panasonic’s 4K x 2K monitor concept -

This is a product that we’ve been waiting for a long time to get: a 20 inch field monitor that packs a 4K x 2K resolution. That means shooters everywhere will be able to see the full glory of their 4K footage from cameras like RED’s Epic or JVC’s newest Gy-HMQ10. Though there’s no price information on this big boy yet, we’re excited about it’s potential.

Spotlight Award: Sony’s Handycam HDR-PJ760V Camcorder/Projector -

It’s funny how close camcorder companies are to blurring the line between professional and consumer camcorders. Sony has done just that by releasing their newest camcorder and projector the HDR-PJ760V. The camcorder comes with 96 GB of internal storage space, an incredible 24.5 MP still image capture option, image stabilization, and of all things a high contrast projector said to be twice as bright as Sony’s offering last year. This means not only will you be able to capture your family’s memories to share with them when they get older, you can also easily show them what you got anywhere you are.

Spotlight Award: Buffalo’s AirStation WZR-1750H Router -

Buffalo’s always been one of the first companies to embrace new technology and industry trends so it came as no surprise that they released an 802.11ac dual band router at CES 2012. We were specifically impressed by the AirStation’s wireless speed which Buffalo claimed could hit 1300 Mbps, approximately three times faster than 802.11n. What’s amazing is that just a few short years ago, standard Ethernet cable used to have a hard time getting speeds up to 1300 Mbps and now wireless routers are doing it in spades. Not to be left out, the router will also have a 2.4 GHz 3×3 802.11n radio inside so that it can be backward compatible with the 802.11a/b/g/and n standards.

Spotlight Award: Tiffen DFX v3

If you’ve ever had to try to fix an image after it’s already been edited into your video project, you know how painstaking it can be. Tiffen has come along to help you make that better with it’s DFX video and editing effects suite. Tiffen DFX is a plug-in filter that in many ways mimics the screw-on glass lens filters that professional photographers use, but it’s like having a filter on steroids.

Version 3 has added even more filters for optical effects along with interface improvements and host support. The digital filters are made to simulate Tiffen’s glass filters – and you don’t have to try to find one that fits your lens… nor are you stuck with the effect that a screw-on lens might produce.  The effects are easy to apply, fun to use, and can take your videos from good to outstanding in a very professional way, which is why we gave Tiffen the Videomaker Spotlight Award for CES 2012.  Read more about the Tiffen “Videomaker Spotlight” award.

Spotlight Award: Satarii’s Swivl

Asking someone to snap a photo can be a stretch, asking them to do camera movements is crazy unless you plan to hire a camera person. The Swivl is your answer in such times. By using a marker, the Swivl keeps you or your subject in a user-defined frame and has the capacity to record audio via an iPhone app. The 360 degrees panning capability is paired with a 25 degree vertical axis to capture a lot of action. The base and marker take AA and AAA batteries respectively, which provide for about four or ten hours of recording depending on whether you opted for the wall charger or the battery life of your pocket camera.

The Swivl is prepped to ship during the first quarter of 2012 and has been an innovative project for us to see from prototype to product, so we are glad to give it a Spotlight Award for the International CES 2012.


Recording Good Audio with Lavalier Mics

by Julie Babcock | October 24th, 2011

Recording good audio during the production of your video is extremely important. Muffled sounds, annoying plosives, and barely audible voices are all elements that could ruin your audio and inevitably ruin your final project. When using lavalier microphones, placement plays an important role in how the mic picks up your talent’s voice. Proper placement will help you capture good, clean audio.

For the best results, have your subject wear a button-down shirt. The mic should come up from underneath the subject’s shirt, so the wire is hidden, and placed between the top two buttons, or about eight inches below the talent’s mouth. By placing the mic below the mouth, rather than off to the side, you’re maximizing the lavalier’s ability to pick up sound, which will result in a better recording. You can also adjust the mic placement, up or down, to find a location that best avoids the bass of the chest cavity and the pops of plosives.

Remember to always listen to the incoming audio with headphones. Pay close attention to any additional noises caused by the material of your subject’s shirt, or a dangling necklace that scratches against the microphone. Practicing proper mic placement and monitoring will help you capture great audio every time.

For more information on how to record great sound every time you shoot, what mics you should use, and how to avoid common audio recording mistakes check out our audio articles under the How To tab on the Videomaker website.

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