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.

Oh, how times have changed. Just two short years ago, I was shooting on a Panasonic HVX200, previewing my footage on a Marshall monitor, and using a G35 lens adapter in order to achieve depth of field. These were wretched times in which one was forced to make a choice between quality and speed. On one hand, if I was trying to capture beautifully focused footage with a shallow depth of field, I would inevitably be running around like a chicken with his head cut off just trying to get my shots in the limited time my clients gave me. With all of the accessories hanging off my camera, it was not only awkward to carry, but difficult to manage as well. On the other hand, I could go out with just my HVX in hand and get some average shots with little hassle; with the caveat of never being able to know if I was truly in focus. It was a very difficult choice to make, but with my perfectionist tendencies, I found myself siding with the latter leading to numerous headaches and many near heart attack moments.

Fast forward just two years and we now have the dawn of a new age shining on us. The age of the DSLR, or digital single lens reflex camera. Instead of wild camcorder rigs like the one I was mentioned above, it is now possible to get the same depth of field with better resolution, frame rate options, and light sensitivity than even some HD camcorders have. Plus, all of this can be shot on a Compact Flash card which can easily be bought at your choice of any big box retail store. I say all of this as a result of having used a DSLR this past week to shoot some clips for a Videomaker Instructional DVD called Basic Editing. In the segment I’m working on, I wanted to make a mock commercial showing the benefits of small town life. What I came to find out was that shooting compelling and aesthetically pleasing shots with this camera was easier than I ever thought possible. Not only did I have a huge amount of frame rates, ISO’s, and f-stops to choose from, but I was also to easily focus my shots even with a high amount of depth of field. Read the rest of this entry »

Reprinted from an AKG press release:

In an introduction that couples AKG’s studio mic performance with desktop convenience and versatility, AKG presents the Perception 120 USB Microphone at both the PLASA and IBC shows this September. The Perception 120 USB is the very first USB-equipped microphone from AKG, offering studio-quality sound performance without requiring any installation or drivers.
The Perception 120 USB is a real plug-and-play device that allows users to do podcasts, voiceovers, and studio-quality rehearsal-recordings quickly and easily. Read the rest of this entry »

Reprinted from an AKG press release
AKG announces the release of the DMM 4/2/2 automatic microphone mixer. The DMM 4/2/2 is a processor controlled digital automatic mixing algorithm with four balanced universal (microphone/line) inputs and two stereo AUX inputs providing a unique and very intelligent mixing algorithm with noise sensitive threshold.
Read the rest of this entry »