Sound for Video Session: Headphone and Output Routing Demo - Zoom F8 Recorder
On your audio recorder, what is headphone routing? What about output routing? And why would you want to change it? In this session, we cover the purposes of routing and show a couple of examples of routing for specific production situations. We demonstrate this on the Zoom F8, but the same principles apply on the Sound Devices MixPre series of recorders as well as the professional level recorders from Sound Devices, Zaxcom, and others.
Gear and links discussed/used to record this episode:
Zoom F8 Audio Recorder/Mixer
Zoom F4 Audio Recorder/Mixer
Sound Devices MixPre-3 Audio Recorder/Mixer
Sound Devices MixPre-6 Audio Recorder/Mixer
Sound Devices MixPre-10T Audio Recorder/Mixer
Sanken COS-11D Lavalier Microphone- used to record my voice in this session
Sennheiser G3 Wireless Microphone System (you will need to buy the right frequency block for your region - call B&H if you need help)
Sound Devices 633 Mixer/Recorder
Copyright 2018 by Curtis Judd
Music - MzA by Cary Judd, used with permission
SoundDevices MixPre 10M - NAB 2018
Last year Sound Devices announced and shipped their MixPre-3 and MixPre-6 recorders and then later added the MixPre-10T with a few additional hardware features for professional sound engineers. One question I received several times was, "Can I use this to record my band and does it have overdub and punch in features? Any effects like reverb?"
In this episode, Paul Issacs talks with Cary Judd, my brother who is a profession music producer in addition to filmmaker. The MixPre-10M looks a lot like the 10T, but the operating system is re-designed from the ground up and optimized for multitrack music recording.
As a bonus for those who already own a MixPre-3, 6, or 10T, you will be able to add all of these music recording features with a plugin that runs $99. The plugin will be available some time in the summer of 2018.
Gear covered and used to shoot this episode:
Sound Devices MixPre-10M for musicians
Sound Devices MixPre-10T - 8 XLR/TRS inputs, timecode
Sound Devices MixPre-6 - 4 XLR/TRS inputs + stereo 3.5mm input
Sound Devices MixPre-3 - 3 XLR inputs + stereo 3.5mm input
RODE Reporter Microphone
RODE iXLR Adapter - Record a dynamic XLR microphone to iPhone or iPad
Panasonic GH5 - My favorite small camera for shooting events
Panasonic 12-35mm f/2.8 OIS Lens - incredibly versatile lens that is on the GH5S most of the time
Copyright 2018 by Curtis Judd
Music - MzA by Cary Judd, used with permission.
Lectrosonics PDR: Professional Body Pack Recorder
When wireless just isn’t going to work (too much interference, too far away from the camera/recorder), a body pack recorder like the Lectrosonics Portable Digital Audio Recorder can be a great option. This is a professional level recorder with incredibly sturdy build quality and great sound.
Thanks to B&H for lending us the PDR for this overview.
Links to gear discussed and used to record this session:
Lectrosonics PDR - Portable Digital Audio Recorder
Voice Technologies VT500 Lavalier Microphone
Ursa Mini Pro Cinema Camera
Sigma 24-70mm f/2.8 OS ART Lens
Aputure COB120t Light (this is the key light in the talking head shots)
Aputure Light Dome Soft Box (used on the key light and for product shots in this episode)
Lupo Superpanel LED Panel (this provided the blue light on the wall behind me)
Copyright 2017 by Curtis Judd
Atomos Recorders: Why do I Use Them?
Will an Atomos Ninja Inferno or Shogun make your video footage look 10 times better? Probably not, but I have found that the Atomos recorders are great tools which make getting better footage easier, more efficient, and in some cases you really can get better footage. In this episode we cover how Atomos recorders help filmmakers.
Links to Gear Discussed and Used to Record This Session:
Atomos Ninja Inferno (UHD up to 60 fps, HDMI input, HDR)
Atomos Shogun Inferno (UHD up to 60 fps, HDMI and SDI inputs, HDR)
Atomos Shogun Flame (UHD up to 30 fps, HDMI and SDI inputs, HDR)
Atomos Ninja Flame (UHD up to 30 fps, HDMI input, HDR)
Atomos Ninja II (HD up to 30 fps, HDMI input)
Panasonic GH5 Camera
Panasonic 12-35mm f/2.8 OIS Lens
Olympus 45mm f/1.8 Lens
Copyright 2017 by Curtis Judd
Sound Devices MixPre-3 and MixPre-6: A New Standard for Sub $1000 Mixers/Recorders
Sound Devices have just announced a new series of audio recorders/computer interface for filmmaking enthusiasts, podcasters, and YouTubers called the MixPre-3 and MixPre-6. I didn't see this coming and - WOW - on paper they look impressive. They're shaking up the category that has been owned by Zoom for the last couple of years with their F8 and F4 recorders.
What makes the MixPre's unique?
- New Kashmir preamplifier design by Sound Devices - Class A preamps with discrete components rather than off-the-shelf integrated circuit preamps
- Analogue limiters
- Analogue to Digital Converter - new 32-bit design
- Touchscreen LCD Screen
- USB audio interface for computers - Via USB-A and C
- Basic and Advanced menu modes
- Stream audio to computer and record to SD card simultaneously
- Large, ergonomic potentiometers (knobs)
- Several powering options including AA, USB, and Sony NP-F style batteries
- Bluetooth app for iPhone/iPad to control the MixPre wirelessly
- 1/4"-20 tap and screw to mount the recorder under your camera
Fortunately, I have an appointment to meet with the guys at Sound Devices next week at NAB so I'm planning to get a good look at the MixPre's and will have more info for you soon.
Oh, and pricing: The MixPre-3 is priced at $650 USD, the MixPre-6 at $900 USD.
Did Sound devices just kill their 6xx and 7xx series mixers and recorders with these new devices? No, not even close for a lot of reasons we can cover another time. But this is a great option for those who cannot spend $3300 for a high quality mixer/recorder and an audio interface to boot!
My friend Jonathan Morrison, for whom I've done a little bit of audio post work, was lucky enough to get an early look at the MixPre. He's coming from the perspective of a YouTuber and does a nice job outlining the benefits from a mobile creator point of view.
Sound for Video Session: Richer Dialogue, Reporter's Mics, Lip Smacks, Recorders for Ambience
This week we answered sound questions from several of you including the following:
How can I make dialogue sound fuller?
Recommendations on “reporter’s” microphones?
Is there a faster way to remove lip smacks and other mouth noises?
Recommendations on handheld stereo recorders for capturing ambience and foley?
Gear discussed and used to produce this episode:
Sennheiser MD46 Cardioid Dynamic Reporter’s Microphone
Zoom H5 Handy Recorder (for ambience and foley)
Electrovoice RE20 Dynamic Microphone (Voiceover for this session was recorded with this)
Antelope Orion Studio Audio Interface (Voiceover for this demo was recorded with this)
Sound for Video Session: Fix Waveform Asymmetry, Gear, Bias Power, Preamp Quality
In this week's episode we cover questions submitted by our little community on how to record and process better sound:
- How to fix asymmetric waveforms in Audition
- Recommended gear for no/low/big budget films
- Sound Devices MM1, Tascam DR-10CS and bias power
- Recording dynamic scenes
- Getting audio from FCPX to Audition
- Why is there such a big quality difference between the Zoom H6 and F8?
Here are links to some of the things we discussed in this episode:
Episode on Microphones:
Audio Recorders/Mixers:
Tascam DR-10CS (not available in the US)
XtoCC (App to convert an XML file of the audio from FCPX to a format that Audition can read):
Tascam DR-10L Micro Recorder and Lavalier Review
If you need to record audio wirelessly but you don’t have a lot of money and you want to make sure you get the best possible audio quality, the Tascam DR-10L is worth a look. It is not a traditional wireless lavalier microphone kit. Instead of transmitting the audio to your camera, it records the audio. Then when editing your video, you simply sync the audio from your Tascam to the video recorded by your camera. Don’t worry, it isn’t hard as you can see here:
The audio quality of the Tascam is quite good, especially if you place the lavalier microphone on the talent’s forehead or their ear. I know, that sounds like crazy talk, but it sounds much better than on the talent’s chest. Try it some time!
The DR-10L has a solid feature set on the most critical things. Battery life is good at 7 hours on a single AAA alkaline battery (longer on Ni-MH or lithium), easy to use controls, a useful screen, a locking plug for the microphone, and more. Let’s have a closer look!
Zoom F4 Audio Recorder Final Review
Last year Zoom took their first step into more professional filmmaker field recorders with the Zoom F8. And now they have just released a younger sibling, the Zoom F4. The F4, at the time of release, sells for $650 USD, has 4 microphone/line inputs, and records 8 tracks simultaneously. The preamplifiers are impressive in my tests and there’s a lot more to cover so grab your favorite beverage and let’s have a look at the Zoom F4 in this wrap-up review!
Summary: The Zoom F4 is the best audio recorder I have used in the $650 USD price range.
Zoom F4 Limiters and Timecode Accuracy
Last week we did an overview of the new Zoom F4 audio field recorder. This is an impressive prosumer audio recorder designed for independent and enthusiast filmmakers with 4 microphone inputs and 8 track recorder.
This week, we look a little more in depth at the F4’s limiters and timecode accuracy. Don’t worry if you don’t know what all that means, we’ll run through what they are and how they can help you make better sounding recordings with less effort.
Here's what I hope you'll take away from this: The Zoom F4 is a really impressive, reasonably priced recorder. While it's limiters are digital, it doesn't seem to need limiters in very many situations because it seems, subjectively, to have an incredible amount of dynamic range for a recorder in this price range. Also, the timecode clock seems really, really solid and accurate. Wow. Good show, Zoom!
Support Me on Ko-fi
