Upcoming Reviews: Panasonic GH5 XLR Audio Adapter, Sanken CSS-50 Stereo Shotgun Microphone, RODE iXLR & Reporter
We've got some new gear in for testing and review. First on the list is the new Panasonic DMW-XLR1 audio adapter for the new GH5. This allows you to record two XLR microphones to your GH5. Panasonic seem to have taken the feedback they received on the interface for the GH4. Evidently the feature people most wanted was the XLR inputs and they were very turned off by the fact that the GH4's interface needed to be powered either by an AC adapter or a big 14V battery like a Sony V-Lock. This time, the interface connects to the top of the camera via its hotshoe and is powered by the camera. That's good and bad. I cannot keep my GH5 in its Varavon Zeus Uni cage when I need to use this. But it is also good as it is a much more compact and lightweight solution than the previous GH4 interface. We'll put it to the test to see how it sounds...
B&H was kind enough to send over a Sanken CSS-50 stereo shotgun microphone for testing. Sanken is a rather interesting company and their tagline is "World's most innovative microphone company." It has three different modes: Mono, stereo, and wide stereo. So far I'm impressed and expect to hear this one along with my test results and impressions soon as well.
This year at the National Association of Broadcaster's show I'm planning to do some interviews with manufacturers at various booths on the floor but wanted to keep the recording rig very light. So, our plan A is to use my iPhone 7+, RODE iXLR microphone adapter, and the RODE Reporter microphone. This will be the ideal solution because post/editing will be pretty straightforward with no need to sync. But I need to do a little more testing to be sure everything works as planned. And I'm not sure how well the iPhone will do in the NAB lighting. So our backup plan is to use the GH5, either with the Panasonic audio adapter, or record audio separately with the RODE iXLR and Reporter. I'll be interested to see if we can pull this off with plan A.
Sound for Video Session: AES3 Digital, Ursa Mini Pro, EV RE50L, RODE Reporter and iXLR
In this week's Sound for Video Session we take a quick look at sending digital audio to camera using AES3 and also a couple of reporter's microphones.
Links:
Wikipedia article on AES3 Digital Audio
Sanken CSS-50 Short Shotgun Stereo Microphone - the episode was recorded with this microphone. This one is really nice but in reverberant spaces like this little room, it has a tough go with phase issues and comb filtering. Can't wait to test it outdoors.
RODE Reporter Microphone - Getting ready for interviews on the show floor at National Association of Broadcasters again this year. Will be giving this a try. Last year we used the Sennheiser MD46 which worked pretty well but still suffered from some handling noise. Hoping this might solve that problem.
Electrovoice RE50L Dynamic Reporter's Microphone - And this is the other reporter's mic we'll by trying at NAB. Both this and the RODE are dynamic microphones with omni-directional pickup patterns. While I get why they are dynamic (helps reduce pickup of ambient noise in the background), I was surprised to learn that they have omni-directional pickup patterns. I would have expected cardioid to help focus the mic and avoid noise. Instead, the design seems to rely on the dynamic capsule to manage noise and keeps the pickup pattern open so that the reporter doesn't have to move the mic as much. Looking forward to seeing how well they work on a noisy show floor.
RODE iXLR Microphone Interface for iOS Recording - This is what I plan to use to record the sound for the interviews at NAB this year. Not sure the cable is long enough to use the phone as the camera, but we're going to give it a shot and see what happens.
Blackmagic Ursa Mini Pro (Recorded the talking head portion with this camera) - My new main camera. One of my favorite features is that it takes AES3 digital audio from a mixer or microphone which can send digital audio. That means that the camera doesn't do the typically mediocre job of recording sound, now it can take top-notch sound from a pro-grade mixer or mic and just record the digital bits along with the video clips. Now we get the best of both worlds - amazing visuals from the camera and top-notch audio quality from my Sound Devices 633 all in a single file ready for edit.
Sound Devices 633 Audio Mixer & Recorder - just tested the AES3 output for the first time this week and WOW! This solves another big problem. Now I get audio perfectly synced to video with my Ursa Mini Pro. Yay for more efficient workflows!
Copyright 2017 by Curtis Judd
Mixing Sound for 2 People While Recording
Last week we covered microphone placement for situations where you’re recording 2 or more people at the same time. Placing the microphones strategically can help to reduce two issues: Microphone bleed and phase issues (comb filtering). In this episode we talk about how mixing the sound of two or more people can further reduce these two issues and result in a cleaner recording with less reverberation and noise.
In an upcoming episode we’ll also talk about mixing in post production in Adobe Audition.
Gear used to record and featured in this episode:
Blackmagicdesign Ursa Mini Pro Digital Film Camera (talking head shots)
Panasonic GH5 4K Camera (for product shots and B roll)
DPA 4017B Shotgun Microphone (Interviewer)
Audio Technica AT4053b Hyper Cardioid Boom Microphone (Interview-ee)
Zoom F-Control FRC-8 (mixing control surface for Zoom F4 and F8)
Sound Devices 633 Mixer/Recorder (with automix)
Sanken CSS-50 Stereo Shotgun Microphone (Talking head shots)
Aputure Light Storm COB120t LED Light (Key Light)
Aputure Light Dome Soft Box (for COB120t key light)
Panasonic Lumix 12-35mm f/2.8 Lens
Copyright 2017 by Curtis Judd
Sound for Video Session: Shotgun Mics, Wind Covers, Mixers, DAW Apps, Loudness
In this week's Sound for Video Session we run through several questions:
- Why is my shotgun mic picking up everything in the room?
- Why do I get clicks and noise with my wireless microphones?
- Should I use a blimp cover on my shotgun microphone indoors?
- Which DAW audio editing app should I use if I don’t want a subscription?
- How do I send sound from a mixing board to my camera?
- Which loudness standard do I use when loudness normalizing my audio?
- Which shotgun microphone and wind cover should I choose?
Links:
Broadcast Loudness Standards (tc electronic)
For internet delivery, Paul Figgiani recommends -16 LUFS for stereo, -19 LUFS for mono audio
Audio Editing Apps (DAWs)
- Logic Pro X
- Reaper
- Studio One
- Avid ProTools
Attenuation Cable to connect mixer output to camera (Panasonic GH4). You will also need a 1/4" to 3.5mm cable
Electrovoice RE50L Dynamic Microphone (Voiceover for this session was recorded with this)
Blackmagic Ursa Mini Pro (Recorded the talking head portion with this camera)
Copyright 2017 by Curtis Judd
Ursa Mini Pro XLR Inputs & Sound Features
The Blackmagicdesign Ursa Mini Pro camera has 2 XLR inputs. Are they good enough to use for your main production audio recording? Or do you still need a separate audio recorder to record your sound?
Let’s have a listen and do some tests.
Spoiler alert: The inputs are decent for camera inputs and usable with high quality microphones. They're not nearly as clean as most high quality audio recorders with XLR inputs, but can still be very usable depending on your mic choice and sound quality expectations.
I'm still learning my way around the Ursa Mini Pro. This is my new main camera for most of the type of work I do but I still very much rely on my Panasonic GH4 (and hopefully soon, GH5) as second camera and when I need to get a gimbal shot.
I'll still probably do most of my sound recording to my Zoom F4, F8, or Sound Devices 633 but will experiment with sending a stereo mix from the Zoom or SD to the Ursa.
Gear used to film or mentioned in this episode:
Blackmagicdesign Ursa Mini Pro Digital Film Camera
Shure SM58 Dynamic Microphone
Sennheiser EW100 G3 Wireless Lavalier Kit
Aputure Light Storm COB120t LED Light (Key Light)
Aputure Light Dome Soft Box (for COB120t key light)
Panasonic GH4 4K Camera
Panasonic Lumix 12-35mm f/2.8 Lens
Copyright 2017 by Curtis Judd
Sound for Video Session: Sound to Director, Mixing Lavs, Crew, Gain, Wireless, Recorders
In this week's Sound for Video Session we run through several questions:
- How to get sound to a director?
- How to mix lavalier mics for dual talking head shots?
- Advice for working with crews?
- How to set gain for Senheiser G3 system?
- Recommendations for wireless systems in the less than 600 GBP range
- Affordable recorders for nature and concert recordings
Links:
Previous session: G3 Wireless hop to camera or director
Zoom H4n Pro - Affordable, decent stereo recorder for natural sound and concerts
Zoom H5 - Affordable, slightly better stereo recorder with better input controls
RODE NTG4+ - Shotgun mic with better rear rejection, slightly mid-range sound
Aputure Deity - Shotgun mic with slightly better sound but lets in more sound from the sides and back
The name of the iOS app which defines many of the terms you need to know when working on set of a larger production is Gobo. It looks like it may not longer be available in the US App Store. :(
Copyright 2017 by Curtis Judd
5 Shotgun Microphones: Audio Samples and Off-Axis Test
In this episode we listen to five different shotgun microphones and also listen to how each of them sound when off-axis (the person speaking is off to the side of the mic).
Gear used or mentioned in this episode:
Azden SGM250 Shotgun Microphone - Entry level mic with good off-axis rejection. Sounds decent but not particularly warm.
RODE NTG2 Shotgun Microphone - Entry level mic with nice warm sound. Off-axis rejection is not as pronounced as the higher-end mics, but decent.
Aputure Deity Shotgun Microphone - Nice sounding mid-level mic with warm sound. Off-axis rejection is not as extreme as Azden, RODE NTG4+ or DPA 4017B.
RODE NTG4+ Shotgun Microphone - Mid-range mic with decent sound and good off-axis rejection. Not as warm as NTG2 or DPA 4017B
DPA 4017B Shotgun Microphone - Great, warm, but articulate sound with good off-axis rejection and more natural off-axis falloff compared to other mics here.
Sound Devices 633 Audio Mixer/Recorder - My main recorder/mixer. Great sounding, low-noise preamps. Can also be controlled remotely with iPad or iPhone (adding the Wingman USB transmitter)
Copyright 2017 by Curtis Judd
How to Record Sound for Video: Dual System/Sync Sound
For professionally produced films, the sound is usually recorded separate from the camera by a dedicated audio recorder. Why? Usually, this allows the crew to record higher quality sound. Recording sound this way is called Dual System or Sync Sound. In this episode, we show you how to record dual system sound so that you can increase the overall production value of your video and film projects.
Gear used or mentioned in this episode:
Tascam DR-60DmkII Audio Recorder (good option for a beginner who wants to record higher quality sound)
RODE NTG2 Shotgun Microphone (XLR output)
RODE VideoMic Pro (3.5mm plug output)
Sanken COS-111D Lavalier Microphone (3.5mm plug output)
The Music Maker
I am about ready to jump out of my skin because I'm so excited to finally show some of my work to all you who have been kind enough to watch my YouTube episodes!
My friend Levi Whitney asked me back in June last year if I would help him by doing the sound for a micro documentary piece on Joel Nowland, a guitar maker here in Utah. Joel makes amazing acoustic guitars which have been played by some big name musicians. But Joel is an incredibly humble guy who loves the craft of creating things for other people. And what's more is that he does it with a significant disability.
So here is what Levi and I made. I recorded all of the production audio for this piece with my trusty Audio Technica AT4053b hypercardioid microphone and my Sound Devices 633 audio recorder/mixer. I recorded a few foley clips with the Aputure Deity shotgun microphone, again with the Sound Devices here at my home.
Levi shot the piece with a Sony A7SII and graded and edited.
I hope you like it.
And I'd like to thank Levi for having the confidence in me to do the sound recording and mixing and Joel for opening his home, his workshop, and his story for the world to see and hear.
Levi will have a piece in the coming weeks over on his YouTube channel covering how we did the lighting. I've covered the sound from the film (both mixing and foley) in these previous Sound for Video Sessions:
Zoom F-Control for F4 & F8 Overview
Zoom disrupted the audio recorder market for enthusiast filmmakers with their F4 and F8 audio field recorders in 2015 and 2016. The quality of these recorders was unprecedented at their price points (now priced at $600 and $900 respectively) I like both of these recorders so much that I bought both of them!
But one thing that is difficult to do with them is to truly mix while recording. The controls are rather small and placed in close proximity to one another. And when working on a dark set, they’re nearly impossible to see. That’s where the Zoom F-Control makes a huge difference and simplifies the process of making a good mix.
Also, we talk a little bit about what a mix is and why you care if you’re a filmmaker or Vlogger.
If you’d like to learn how to record and post process your sound, be sure to have a look at my sound for video courses at http://school.learnlightandsound.com
Visit us at https://learnlightandsound.com for more updates on how to improve your lighting and sound for video. Also be sure to subscribe to get new episodes every week!
Gear used or mentioned in this episode:
Zoom F-Control Surface (FRC-8) for Zoom F4 and F8 Recorders
Zoom F4 Audio Field Recorder (Price recently reduced to $600 USD)
Zoom F8 Audio Field Recorder
Sony MDR-7506 Headphones (my new favorite headphones for recording, but not for post work)
