Sound for Video Session: Zoom F8 Firmware Update - Most of the F8n Features!
In this week's live Sound for Video Session, we covered the new firmware 5.0 for the Zoom F8 that was announced just this morning!
Now, many of the software features in the new F8n are available to owners of the original F8:
Advanced Look-Ahead Hybrid Limiters
Zoom AutoMix™ function
Improved TC accuracy when powered off
Digital Boost for headphone monitor (up to +24dB)
Selectable headphone Volume Curve
New "Fader Mode" view for home screen
Maximum fader level increased from +12dB to +24dB
F8 Control iOS app can now work together with FRC-8
Ability to record to SD card and USB Audio Interface simultaneously
This is great news! Not only is Zoom taking good care of their existing customers by providing all of these new features for free, this gives potential buyers of their new F8n confidence that Zoom will continue to take care of them into the future.
See our initial impressions of the F8n video:
Gear Discussed/Used in this episode:
Zoom F8 Audio Field Recorder - This one is no longer being manufactured, but some retailers still have some and then you can probably pick up a used copy at a nice price.
Zoom F8n Audio Field Recorder - The updated version of the F8 with all of these features plus some new hardware features.
Zoom F-Control - Hardware mixing control surface
Zoom F4 Audio Field Recorder - The "little brother" of the F8
Panasonic GH5s - my favorite small camera
Panasonic 12-35 f/2.8 OIS II Lens - one of the most versatile lenses I've ever owned
Copyright 2018 by Curtis Judd
Sound for Video Session: MixPre or MixPre M for Music? Music Plugin
A question I’ve received many times is, “If I record sound for video and studio style multitrack music projects, should I get the MixPre M instead of the MixPre?” In this session, we answer that question and also demonstrate the music plugin for the MixPre 10T, 6, & 3.
Special thanks to Cary Judd for making up a song, on the spot, with no preparation. I hope he wins a Grammy. Thanks also to Sound Devices for providing the music Plugin for my MixPre-10T. I bought the MixPre, they gave me the plugin for this video. No other payment provided and they did not review this before I posted it. They’re those kind of cool people.
Gear and links discussed/used to record this episode:
If you’re recording sound for film and multitrack music projects:
Sound Devices MixPre-10T
Sound Devices MixPre-6
Sound Devices MixPre-3
For Musicians Only:
Sound Devices MixPre-10M
Sound Devices MixPre-6M
Sound Devices MixPre-3M
Electrovoice RE20 Broadcast Microphone
Copyright 2018 by Curtis Judd
Music Copyright 2018 by Cary Judd. Used with permission.
Sound for Video Session: Meter Types (featuring the Zoom F8 & F8n)
In this week’s session, we share an excerpt from the upcoming online course, “Getting the Most From Your Zoom F8/F8n Recorder.” In this particular segment, we cover the different types of meters and when you might want o use each type. - VU, peak, dBFS, and dBu. You’ll be a better audio engineer once you understand this.
Gear and links discussed/used to record this episode:
Zoom F8n Audio Field Recorder (2018)
Zoom F8 Audio Field Recorder (2015):
Copyright 2018 by Curtis Judd
Outro music licensed from Artlist: Keep an Eye by Back to Dream. Artlist provides high quality music tracks for your film and video projects. You can receive two months off an Artlist account by using our link.
FetHead Phantom: Louder, Cleaner Audio for Condenser Microphones
Many consumer grade recorders like the Zoom H4n and even many cinema cameras have XLR microphone inputs that don’t provide enough amplification or gain. The result is that recordings can come out much quieter than you’d like. Sometimes it is also due to weak output levels from consumer grade microphones. Then in post production, you might boost the level only to find that there’s a bunch of hiss or self-noise.
The FetHead Phantom from Triton Audio solves this problem for condenser microphones like shotgun or boom microphones.
Links to gear discussed and used to shoot this episode:
Triton Audio FetHead Phantom In-line Microphone Pre-amplifier - for condenser microphones like shotgun or boom mics. Bonus - can also work with dynamic mics B&H (US) Amazon (EUR)
Triton Audio FetHead In-line Microphone Pre-amplifier - for dynamic microphones B&H (US) Amazon (US & EUR)
Deity S-Mic 2 Shotgun Microphone: Coming Soon
DPA 4017b Professional Shotgun Microphone
Blackmagic Ursa Mini Pro cinema camera
Panasonic GH5 - My favorite small camera for video
Panasonic 12-35mm f/2.8 OIS Lens - incredibly versatile lens that is on the GH5 most of the time
Copyright 2018 by Curtis Judd
Music - MZA by Cary Judd, used with permission
Sound for Video Session: Zoom F8/F8n Setting Gain Trim
In this week’s session, we share an excerpt from the upcoming online course, “Getting the Most From Your Zoom F8/F8n Recorder.” In this particular segment, we cover how to set the gain trim, the various track knob modes, and demonstrate how to optimize your gain in relation to the limiters. Lots of fun!
Gear and links discussed/used to record this episode:
Zoom F8n Audio Field Recorder (2018)
Zoom F8 Audio Field Recorder (2015):
Copyright 2018 by Curtis Judd
Outro music licensed from Artlist: Keep an Eye by Back to Dream. Artlist provides high quality music tracks for your film and video projects. You can receive two months off an Artlist account by using our link.
Deity S-Mic 2 Shotgun Microphone: Initial Impressions
At NAB 2018, Deity Microphones announced their S-Mic 2, an affordable shotgun microphone targeted at independent filmmakers with some important improvements over the original Aputure Deity Shotgun Microphone. Deity refined the voicing on the S-Mic 2 for a fuller, more balanced sound. They also coated the circuit board to reduce the microphone’s self noise. Let’s take a closer look and a listen, and even compare it to the RODE NTG-4+, a similarly priced shotgun microphone, as well as a pro-level shotgun mic, the DPA 4017b.
Links to gear discussed and used to shoot this episode:
Deity S-Mic 2 Shotgun Microphone - Coming Soon, ships July 2018
Sound Devices 633 Audio Recorder/Mixer
Aputure COB 120d - This is the light I used as a key in the talking head clips
Aputure Light Dome Soft Box - Used to soften the key light
Panasonic GH5 - My favorite small camera for video
Panasonic 12-35mm f/2.8 OIS Lens - incredibly versatile lens that is on the GH5 most of the time
Copyright 2018 by Curtis Judd
Music - Elegance in Entropy - Copyright 2017 by The Vacationist, used with permission
Sound for Video Session: Q&A - Timecode Generators, Sennheiser vs. RODE Wireless, and More
In this week’s sound for video session, we answer your questions!
00:20 Can I use the timecode generator in my recorder and then just buy generators for each camera (GH5 and GoPro)?
02:13 What is the difference between the Zoom F8n and Sound Devices MixPre-10T?
04:26 Can I use a Tentacle Sync connected to my computer with Screenflow?
05:43 Sennheiser G3/G4 vs RODELink for long interviews (4-8 hours)?
06:38 Connect audio recorder to an ATOMOS video recorder?
08:19 How do I power all of this stuff for 8 hours since I will not always have AC power?
10:20 Small Traveling light recommendation? (Aputure F7)
11:38 How do you transport your camera/audio recorder when flying?
13:44 Sennheiser 416 or RODE VideoMic Pro+ & Ursa Mini Pro?
17:09 How do you control the order that effects/plugins are applied in a DAW?
21:26 Is there such a thing as an acceptable amount of timecode drift?
Previous episodes referenced - Sound Devices MixPre Re-mix Demo:
ZOOM F8n First Impressions:
Sound Devices MixPre-10T Review:
Previous Sound for Video Session where we covered batteries:
Sound Bag Tour:
Please consider my sound for film classes available over at http://school.learnlightandsound.com
Gear and links discussed/used to record this episode:
Dummy Battery adapter for Panasonic GH cameras (D-Tap to GH camera) - power your Panasonic GH camera for hours with a cine style batter like the JuiceBox below.
JuiceBox V-Mount Battery - cine battery that can also power your recorder
Zacuto Zwiss Plate V2 to attach the cine battery to your camera rig (requires rods)
V-Mount Battery Plate to hold the battery to the cheese plate
Aputure COB120D LED Light
Sennheiser MKH-416 Shotgun Microphone
RODE VideoMic Pro+ - Camera shoe mount shotgun microphone
Sound Devices MixPre-3 Audio recorder/mixer
Sound Devices MixPre-6 Audio recorder/mixer
Sound Devices MixPre-10T Audio recorder/mixer with timecode generator
D-Tap to Hirose Adapter Cable - to use a cine battery with your Zoom F4, F8, F8n or Sound Devices MixPre-10T
Electrovoice RE20 Dynamic Broadcast Microphone - used to record this session
Sound Devices 633 Audio Recorder/Mixer - Used this as the preamp for the microphone and then fed the audio to the camera in this episode
Copyright 2018 by Curtis Judd
Outro music licensed from Artlist: Sunday by Young Pixies - Amazing Journey. Artlist provides high quality music tracks for your film and video projects. You can receive two months off an Artlist account by using our link.
Sound for Video Session: ZOOM vs Sound Devices, Timecode Generators, Essential Gear & More
In this week’s sound for video session, we answer your questions!
00:40 Zoom F8 or Sound Devices MixPre-10T if I also record music?
03:29 Zoom F8n vs Sound Devices MixPre & getting location sound jobs
08:54 Choosing Timecode Generators: NanoLockit, Tentacle Sync E, Timecode Systems
13:12 Wired Lavalier recommendation (Audio Technica AT899)
14:01 Batteries for powering recorders with hirose power inputs
16:15 Recording audience at live performance
18:10 Essential gear for location sound
Previous episodes referenced - Sound Bag Tour:
Recording live performance sound with Mike Stranks:
Ambient Sound NanoLockit:
Tentacle Sync E:
Timecode Systems Overview:
Sound Blanekts:
Gear and links discussed/used to record this episode:
Audio Technica AT899 Wired Lavalier microphone
JuiceBox V-Mount Battery & Charger
Electrovoice RE20 Dynamic Broadcast Microphone - used to record this session
Blackmagic Design Ursa Mini Pro Camera - Used for the talking head clips
AJA U-Tap SDI - Turns any camera with an SDI output into a webcam. Used to record the talking head clip
Sound Devices 633 Audio Recorder/Mixer - Used this as the preamp for the microphone and then fed the audio to the camera in this episode
Copyright 2018 by Curtis Judd
Outro music licensed from Artlist: Sunday by Young Rich Pixies - Amazing Journey. Artlist provides high quality music tracks for your film and video projects. You can receive two months off an Artlist account by using our link.
Zoom F8n Audio Recorder: Initial Impressions
At the National Association of Broadcasters meeting earlier this year, Zoom announced their update to the F8 audio field recorder - the F8n. The focus of this update was to address many of the things that users complained about on the original - hybrid limiters that were ok, but not perfect, line inputs only on 1/4”, mediocre headphone amp, and consumer line level output among others. I had a chance to work with the F8n for a few hours. Let’s see how they did addressing these items. From my point of view, it looks like the F8n is a very nice step up from the original F8.
Links to gear discussed and used to shoot this episode:
Zoom F8n Audio Field Recorder
Zoom F4 Audio Field Recorder (similar but with 4 microphone inputs, monochrome screen, no app control)
Zoom F-Control surface with linear faders - my favorite way to mix when working from a table or cart.
Juicebox V-Mount Cine Battery - good way to power the F8n, F4, F8 all day long
D-tap to 4 pin Hirose Cable - to feed power from cine battery to F8n, F8, F4
Remote Audio BDS V4 Battery Distribution System
Remote Audio Hi-Q Battery (98 watt-hours) - this is a battery that is better suited for use in a sound bag, smaller than most cine batteries but still lots of capacity
Sennheiser MKH8050 Boom Microphone - this is the microphone I used
Schoeps CMC641 - this is the microphone my daughter used
Aputure COB 120t - This is the light I used as a key in the talking head clips
Aputure Light Dome Soft Box - Used to soften the key light
Lupo DayLED Fresnel Light with Barn Doors - Used for the “rim/hair” light
Blackmagic design Ursa Mini Pro Cinema Camera - used for the talking head clips and some of the product shots
Sigma ART 24-70mm f/2.8 OS Lens (Canon EF Mount)
Panasonic GH5 - Used for some of the product shots, the crispier shots
Panasonic 12-35mm f/2.8 OIS Lens - incredibly versatile lens that is on the GH5 most of the time
Copyright 2018 by Curtis Judd
Music - MzA by Cary Judd, used with permission
Sound Bag Tour
Let’s take a look at my sound bag setup. If you’ve never used a sound bag for your audio recorder/mixer, my hope is that this will give you some ideas on how to set yours up so that you’re comfortable and able to record some great sound for your film project.
Links to gear discussed and used to shoot this episode:
Orca OR-30 Audio Mixer Bag
Sound Devices 633 Audio Recorder/Mixer
Audio Limited A10 Dual Channel Receiver - with pro wireless systems, you buy each piece separately
Audio Limited A10 Transmitter (version for bag use)
DPA 4160 Lavalier Microphone - Great lavalier microphone but a little too sensitive to my sibilance. Will need to bury it under more clothes next time. You will also need the microdot adapter for your particular wireless system.
Remote Audio BDS V4 Battery Distribution System - you'll also need cables for the battery and each device that you're going to power.
Remote Audio Hi-Q Battery (98 watt-hours)
Sony MDR7506 Headphones - a little on the bass heavy side, but very comfortable and they fold when transporting so these are usually what I use on production days (but not for mixing in post)
Beyerdynamic DT770 Pro (80 ohm) Headphones - also very good, even more comfortable and better outside sound isolation, not as bass heavy, but they don't fold. Sometimes I just want the greater comfort these have to offer.
Aputure COB 120t LED Light - still my go-to key light
Aputure Light Dome Soft Box - Used to soften the key light
Lupo DayLED Fresnel Light with Barn Doors - Used to light the battery charger, for a focused, moody look
Blackmagic design Ursa Mini Pro Cinema Camera - used for some of the product shots
Sigma ART 24-70mm f/2.8 OS Lens (Canon EF Mount)
Panasonic GH5 - Used for some of the product shots
Panasonic 12-35mm f/2.8 OIS Lens - incredibly versatile lens that is on the GH5 most of the time
Copyright 2018 by Curtis Judd
Music - MzA by Cary Judd, used with permission
