Bad Audio? Try These Filmmaking Tools for Small Crews
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- Опубліковано 31 тра 2024
- #documentary #filmmaking #audio
How can we get professional quality audio for our documentary films, even when working with small teams - or even alone? Audio is the backbone of our documentaries, and in this video I go into some of the tools and strategies I use for different audio scenarios when I don’t have the budget for a sound recordist.
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*Shotgun Mics:*
Rode Video Mic Pro: amzn.to/3FF67VP
Sennheiser MKE 400 (best mirrorless mic): amzn.to/3Dvxbo2
Sennheiser MKE 600 (my favorite low-end pro shotgun: amzn.to/3fy4qyP
Rode NTG 3 (good midrange shotgun option): tinyurl.com/338kjjnf
Sennheiser MKE 416 (Industry standard high end shotgun): amzn.to/3Do7vtm
Scheops CMIT (the best of the best for doc shotguns): amzn.to/3sVzPi2
*Lav Mics:*
Sennheiser ENG Series: amzn.to/3gV2Lnk
Tentacle Track E recorders: amzn.to/3WqRxXX
Sanken COS-11D microphones (industry standard): amzn.to/3sTGOaZ
*Timecode:*
Tentacle sync boxes for timecode boxes I use: amzn.to/3hagCGM
Philip Bloom explains Timecode: • Why you MUST use these...
CHAPTERS
0:00 - Intro
2:00 - The Importance of a Shotgun Mic
4:34 - Wireless Lav Mics for Single Characters
6:59 - What to Do With Multiple Characters
8:54 - Internally Recorders
12:28 - Timecode System for Syncing Audio
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Thanks for this Luc 🙏🏾
I simply came here for a recommendation on a shotgun mic, this guy made me want to shoot a documentary. Great video!
This year I finally got into internally recording lav mics and it's been a game changer - opposed to wireless that only send the signal to the camera. Got it to avoid interference and drop outs, but quickly learned that the mic rolling even when the camera isn't allows for some "happy accidents" I wouldn't have captured otherwise
Absolutely! 💯
I would love to see how do you pack all of it so it's nice and functional as a cinematographer. Thank you for the videos!
Awesome awesome and a life saver into sound recording. Going to shoot soon so needed this. thanks so much.
Very helpful, thank you!
Always love your advice! Thank you!
You’re very welcome!
So true about having a good shotgun mic. So key for follow doc work when you don't have a sound mixer with you.
a complete video right here.
crystal clear.
Hi Luc, great advice. I'm a newbie but decided I needed to take sound seriously so bought the definitive Sennheiser MKH 416. Also have Sony's dual channel lav set-up and an XLR transmitter too for a wireless shotgun. However before getting a lot of this I bought DJI's twin lav mike pack. That's Uber compact and permits internal recording too. Probably best if a good lav is added as the bare transmitter mike (all in one) units are bulky by conventional lav norms. I have a cable for timecode on back order for my FX3 with a view to running more complex takes to my MixPre and several Deity TC-1 boxes. I probably spent more on sound kit than on my FX3, but as you say sound is vital to a quality end result. Just need to practice and improve now.
Fantastic video! Exactly what I was looking for while prepping as a one-man-band for a shoot with 3 subjects. Tentacle sync looks legit - gonna research what the workflow looks like with an A7C + premiere. Best feature: 32 bit audio - makes my DJI mics seem irrelevant now.
Hi Luc, great advice. I love your channel and subscribed a few months back. Agree audio is key. I'm a newbie starting to teach myself video, but have about 40 years experience shooting stills (from way back in the film days). I bought a Sennheiser MKH 416 and. Mix pre 6ii. Also tried some other kit. DJI mike (good but not absolute top quality) also records internally and for many might be a good 2 channel system.
I later bought a more mid-range Sony diversity system (uhf not 2.4k) that does indeed go into the Sony hot-shoe. Pretty good, but even better going into a Sound Devices MixPre 6ii. I'm exploring timecode and bought 3 Deity TC1 boxes. I'm saving for the highly rated Sanken cos-11D lavs but really need to consolidate my kit spurges with time to practice and gain real skills.
My biggest issue is finding time to learn and practice. So much to do and learn - which is why I'm now a fan of your channel. I'm just an amateur 'dabbler'. If I learnt one thing so far .... It's a mistake to cheap out on budget gear if (but only if) your budget can stretch higher. I wasted so much time, cash, effort buying sub par kit only to eventually buy 'pro level' robust gear later. I lost a load of time effort selling on kit I outgrew on eBay. Nowadays I tend to hold back and buy only when I'm sure it's right for me. Luckily I can afford to buy pretty decent kit, my constraint is time to learn how to use effectively.
I don't want to be the sad g** with 'all the gear and no idea. So I'm committed to personal learning, projects, practice, feedback and more practice. Best thing I learnt so far is that the concept, idea or story is king. All else is subservient to the idea or story. Great production value for a boring or rubbish story is a water of effort save the experience to learn from the shortfalls.
Great video! Thanks, Luc!
You’re welcome!
So much info! Much appreciated
You’re very welcome!
Just found your channel. interesting... And I'm glad you come right out and say the thing everyone tries to get around, "If you can afford it, hire a sound person." Someone like me. I've been doing video production for 30 years and have spent most of that time doing production sound for TV shows, News, Sporting events, corporate video, independent movies... basically you pay me me in American dollars and I'm there. I have a few things I won't do, but basically, that's how I have made a living for the past 30 years.
The gear has changed a lot since I spent $10K and bought my first audio package. Over the years, the gear has just gotten better and better. And some things are pretty darn cool these days.
My current gear is incredibly solid and basically what it is that producers want to see in a kit for their shows. Sound Devices mixer/recorders and Lectrosonics wireless systems, Sanken COS-11D mics and Sanken, Sennheiser or Schoeps boom mics, K-Tek boom poles... But I also spice in a few things here and there that you mentioned. I use the G3/4 systems as scratch track hops as well as having the Sennheiser IFB packs so the producer can listen in. I also use the Tentacle E Sync Lockit boxes. having four of those is handy on those bigger, multi camera shoots. And I have one of the Track E recorders. They are a perfect solution for when you need to have critical audio, but just can't reach with a wireless system or need to just keep rolling and cant always be around. They are super cool and often a life saver for those unique situations. I love using them when the need arises and then you look like a hero to the producer because you have the solution. And if you've had the Track E for a while, check in on Tentclesync.com for the latest firmware up dates on these boxes. The latest firmware for the Track E solves several annoying issues they have had in the past.
That Gimbal comment really was directed at me! 😂😂😂
I find my “go to” system includes a Tascam X8. For mics, and the D.J.I.mic for out of the way personal sound. Both very good and very reliable. Good quality mics are essential
This is some high end advice laying around in this indie channel. Keep it up dude
Thanks, I plan on it!
Hey Luc, I don’t know if it’s a given for everyone but many years ago I learned that you can use a “stereo breakout cable” to send two signals into a single 3.5mm DSLR mic input. I bought a 5€ to try and it worked well, I can plug both my shotgun and my lavalier at the same time. In the edit, I will have one mic on the left track, and the other on the right track - which can be easily separated. My best 5€ spent on gear!
(Not all “2-to-1” cables will split the audio L/R, some will mix both mics in a single track... Not 100% how to tell them apart.)
Good tip! I’ve definitely done that before, but it makes me nervous tbh. Glad it’s working for you though!
Would not recommend this at all. This technique unbalances the signal, and makes it very susceptible to RF signal interference, etc.
Another good/cheaper option for internal recorders is the Tascam DR-10L. It saved my life in a situation where I was picking up frequencies with my Rode Go mic during Radio Row for the Super Bowl last year.
'Buffer on your reflexes.' Awesome sentence. Great video, Luc!
Hahah, now I just need something like that for my life…
Audio is so important that I recommend that a person budget for two ways to capture audio, if at all possible. For example, if on a budget, a short shotgun that can go directly into the camera's 1/8 input (I have a Deity, I think it's the V-Mic D3 Pro), and also a simple lav recorder (like the Tascam DR-10L), and use both at the same time. This is especially useful for solo operators who will not have a second person monitoring sound. I've graduated to other gear, but these were how I got started myself, and I still use them sometimes.
I would go so far to say you should buy audio gear before you buy a camera. When you’re learning, your phone is good enough and audio gear doesn’t go out of date the way cameras do. Plus, you can always rent a basic camera package for a couple hundred bucks.
Yeah, the longevity of audio gear is huge. You’re right though, learning audio early is a great investment
@@LucForsyth I've had several friends ask me how to get started as a filmmaker, and I always recommend a tripod and a very basic audio kit. Then, maybe a cheap 5-in-1 reflector kit.
I tell them to make a few projects with their phone and that kit, then they've "earned" some lights. After they've made some videos they're proud of, they can earn a nice used camera with a kit lens.
I always felt like that was the best way forward because most try filmmaking and quit when they realize how hard it is. At least this way, they only invested in a couple hundred dollars worth of gear.
And if they decide to keep going, that gear can grow with them and they'll know how to spend their money in ways that actually fit their shooting style.
I did this, don't do this.
@@dcfanforlife533 So did I actually. It worked for me, but I wouldn't say it's for everyone.
It's very hard to start this way because there's little margin for error to make a cell phone video look good. But, I think that made me a better filmmaker in the long run.
@@zwheels654 I love your advice. I don't have access to any funding but I see a future in film making. I currently shoot, edit and produce short dramas on my phone. And I can resonate with your system as a method to grow gradually.
I love internal recorders when I'm working alone, especially since DaVinci's auto-sync is so good (I have Tescams not Tenticles so unfortunately no timecode). if it is important and need to monitor sometimes I'll attach cheap wireless sets from aliexpress and run the monitoring cable from the recorder to the wireless, that way I can internal record and monitor audio at the same time. Works like a charm.
Thank you for such a nice review.
Also could you please suggest an excellent Shotgun mic for Solo Documentary Filmmaking please. How did you connect the XLR mic on a Mirror Less camera?
Great video! I have the 416 and cos11d as well 👌
Amazing combination!
Just got notification from You tube algo.
Good one 👍
Nice video because I film a lot of engine noise, so I always have Shotgun microphones on my cameras. My first was a Röde videomic pro in 2012. And today also have a Röde VideoMic Pro + and for days with bad weather or as travel setup I have the Panasonic FZ300 with a Röde VideoMicro because you always want to avoid wind noise. Then it is good to have a cheaper setup to switch to 😀
But I have also noticed that if the sound conditions are good for engine noise, I can use a shotgun microphone to hear the sound of a ship 500 meters away. or as in my latest video, put the sound on the drone clips when a Steam Locomotive passes us and I'm standing next to the drone pilot
Also interesting to hear about internaly recorders it's probably the only system that could work for me if I'm going to have people and machines in the same video
This looks like a Nice channel so I will check out more what you have
Greetings from North Sweden
Great video as usual Luc, thank you for your insights. I made my audio decisions based on the fact that I needed to move / travel a lot, and had a certain budget limits so opted for Sennheiser mke600 /internal battery option/ as shotgun and rode wireless go ii set - can record 2 separate channels internally. In my opinion this is a great starting point - as I can get decent interview from mke600 with zoom h5 and use wireless go with lav mic to get higher quality sound without need to maintain constant contact. I am eyeing though Sennheiser 416 in the near future.
Nice! I like my 600 a lot, it’s great and super compact
Former 416 owner, it is a dated mic, sounds too sizzly and compressed (as you can hear in this clip). Stick with the 600, unless you will be out in the rain. Which why would you be. Once you hear the shortcomings of the 416 you cant unhear it, and it sounds horrible. Now I use Neumann.
I'm an enthusiast filmmaker. It's just a hobby for me but I try to make the highest quality video and sound I can. Just not at any cost. I'm on a low budget but I will spend if I need to. I use a Panasonic S5 mark 2 with a kit lens and for my sound I have a "Comica VM20". It's a cardioid mic with a built in battery and per-amp. It was £115 off Amazon I use two Fulaim X5 systems one for the mic to camera and another for the camera to headphone, so no cables. The mic is in a fully enclosed blimp. My audio sounds great. I used to have a much more expensive set-up with audio recorders and a Sennheiser ME66 mic and I'll be honest it doesn't sound any worse since I down graded. This cheap mic sounds great.
I really enjoy using the Rode GO 2, with the Rode GO Lavs. You get two transmitters that internally record and are able to do 32 bit float, and the signal is sent to one receiver. It’s pretty affordable for the whole kit, I think it’s around $400. It’s both a internal recorder and wireless system. The only negative is that it’s not super rugged, but I think for most things it does just the trick.
I've heard good things!
The Rode Go II is great, the downside is it does record only 24 bit, not 32 bit float in reality i think. You can export the recorded files in 32 bit float, but the recording itself is only in 24. if that makes sense? But 24 bit should be enough, and compared to the tentacles you can monitor the sound as they‘re transmitting as well. But yeah, real 32 bit and they‘d be the absolute perfect solution i think!
wait is that set up only for lav mics?
I think the easiest way but takes more time is to record the audio seperately for narrative stuff. Matching it to visual is pretty easy.
I’m a little bit overwhelmed, I consider buying Zoom field recorder H1n and Sennheiser MKE 600. I just want to make short cinematic films for UA-cam, do you think it’s enough? I’ll probably get later LAV mics, but after I buy some lighting
The Sennheiser MKH 416 is such a flippin awesome microphone. I have been playing and mixing music both live and in the studio for well over 10 years (not professionally, but still pretty dedicated), so I feel like can comment on audio equipment. Yes, it’s expensive, but ironically, the less experienced someone is in the audio realm, the more they will benefit from a good sounding mic. The MKH 416 is WELL worth the money in my opinion.
The Rode NTG2 comes surprisingly close in sound quality, but like I said: a better mic is going to make the end result so much better, and a videographer is never going to develop the audio post production skills to tune in details that would elevate a lesser mic to the level of a truly professional shotgun mic. Just like a sound engineer isn’t going to learn color grading on a professional level, because that’s simply not their focus. So do yourselves a favor, guys. Listen to Luc, get good mics. You’ll thank yourselves later!
Thank you Luc! I'm now entirely sold on how getting great sound from shoots can greatly increase the quality of my work! The next gear I'll be looking to get is.... you guessed it... sound gear!!!
Do you have any recommendations for sound systems for mobile filming? I'd appreciate your suggestions!
And you sound absolutely awesome!
Thanks! Though my editor deserves a lot of credit for post work because I live right beside a very busy road. By sound system do you mean a mixer?
Excellent work, as always, Luc! As an editor for 33 years, nothing makes me sadder than being handed ropey audio and expected to magically make it sound good. I would like a dollar for every time a young producer has doubted my advice that audio was bad and sent the Executive Producer in to have words…claiming the wrong track was used, blah blah blah. Editors are paid to take the blame on days like that. I digress… what I wanted to add is that for solo shooters nowadays a great development is something called 32-bit float, which is an audio acquisition codec akin to RAW in video. If you accidentally set record levels too high or low the recording is fully recoverable. Also, re: timecode workflows for indy/budget solo shooters - the Tentacle steals the limelight but ATOMOS and ZOOM have an excellent bluetooth timecode ecosystem as well. The ATOMx SYNC module plugs onto the back of a NINJA V and generates TC which can then be received via a bluetooth on other cams with the ATOMx SYNC and ZOOM audio recorders with bluetooth. I use mine with the ZOOM F6, which has 6 XLR inputs and 32-bit float. It’s easy to set up and almost set and forget! Some people don’t want the bulk of external recoders like ATOMOS and fair enough. It works beautifully for me. One other thing, LUMIX cameras have that hotshoe dual XLR adapter and pre-amp thing, like the SONY one. I’ve got one and it’s brilliant. Keep up the great content Luc!!!
Oh man, I always feel for editors given bad audio…the struggle is real!
Don't always blame the sound man! I worked as sound recently on a small indie shoot where no one understood sound. They thought it was all about the camera. I just had to turn up and wing it after the camera ghosted me on email when I asked about time-code. (I was using a Zoom F4 for this shoot with G3s and a boom) I had to guess at the kit needed. Indeed, when I asked the Director what he needed for audio, I was sent the story boards!! So no time code and no on-set cadence for sound-camera-slate-action.... (and no time for any technical rehearsals for sound etc.... ) I pity the poor editor who has to manually link all the audio to the video as the slate was out of focus the half dozen times I saw it in the monitor.
@@JAmediaUK I NEVER blame the sound man. I love sound men. The problem is fewer and fewer budgets seem to stretch to sound men and the results show…
@@the_black_douglas9041 I once saw a newly qualified student with a Black magic Cinema Camera, an expensive tripod and a good lens doing some filming for a friend. A presentation at a local beauty shop. The student did the audio by turning on the voice memo on their smartphone and leaving it on the counter near the person speaking..... Even a reasonable entry level pro shotgun (RODE NTG1? ) would have cost a fraction of any one of the other components. What are they teaching them in film school/University these days?
Fortunately, like Luc, most of my work is documentary and journalism. So I have to understand both video and Audio (and have the kit for it.).
Sennheiser MKH 416 P48 second-hand. Immortal classic. Instead of headphones to monitor levels, get a Zoom F3 which does 32-bit float recordings. You can always fix the gain in post if you have this (or Sound Devices MixPre II-series). Decent bang for buck lav-wise is Rode Go II.
Currently looking into the xlr handle options for my a7siii. I have a zoom h5 and a sennheiser mic but then it needs a cloud litter and that would be too much to rig up on my smallrig cage. Unless it’s doable? Any tips?
Do you think plugging one of your recommended mics into the Mini XLRs on the Blackmagic Pocket 6k would be capable of sufficient audio? Or is it more advisable to get an external recorder like a Zoom F3?
I've got the Sony dual tranmitter/reciever and just got the the DJI recorder/tranmitter/receiver. So on the FX3 I should be able to record and monitor 4 channels while two of those are recording in the separate transmitter DJI units, but I wouldn't;t have access to the shotgun. so it would be 3 wireless and one shotgun. :-) I love that FX3 handle!
same!
Thanks for your amazing work always. Would you recommend the NTG3 or MKE600?
hmmm...probbaly the NTG3, though it depends if the size matters. The MKE 600 is shorter and probably better for a mirrorless set up if you want to keep it small. Sound on the NTG3 is slightly better
@@LucForsyth thank you! How do you feel about the NTG5? Or have you never worked with that mic?
I feel like I would add a good boom pole in there as well for some sit down interviews.. Something from K tech with an internal cable.
Yeah, good call. I use Ktec booms myself. Maybe another video is called for!
i remember messing the audio on my first doc on 2 interviews and had to drive hour to re-do the interview. I now own a Zoom F4, a Rode NTG 3, Rode wireless Go And The Sony MDR 7506. I now feel i have good enough audio gear to get decent audio . Its now up to me to do my job when filming. I now plan to get the ZoomF2 which will allow me to record direct from my lav mic jut incase the wireless Go mics won't work
Sounds like a great setup, sorry you had to learn that the hard way! But we've all been there...
can you help me. i have fx6, i am planning 2 boom 8050s and i need wireless lav 2 sets. how do you suggest i record it into the fx6 or something like the soom f6
Using 2 sets of dji wireless mics and pluralyeyes to sync in post to pretty good effect. Not as rugged or versatile as 4 tentacle syncs but a fait bit cheaper.
Nice, that sounds like a great setup!
Yea I used to have 2 sennheiser AVX but they sadly got stolen and I didn’t have the budget for more so I downgraded to the rode wireless go. I recently invested in some BP-TRX packs and now looking for a good shotgun mic
Ah man, sorry to hear that - never fun
Wireless lavs with backup internal recording has become mainstream. Having the best of both worlds is game changer.
Been recording everything with TASCAM DR-10L and zoom H5N pro. Studio work plug shotgun into Scarlett solo and record into logic. After having so many issues with the wireless systems I switched to external. For example had a groom with a wireless system on and he had put it in his pocket with his cell phone and went to edit and found a random buzz every view seconds I could not get rid of. Maybe I'm just dumb but that was the final straw with wireless packs. Haven't had a problem ever since.
Yeah, I hear ya! When they work they’re great, when they don’t it’s a nightmare!
You. Are. The. Sh*t!!! Thank you for this
Thank you 👊🏻
informative 15mins on audio.
what do you think about Rode Go 2?
i bought good audio gear when i started years ago and still use most of it. I’ve changed cameras multiple times since. the investment in audio has amazing roi.
💯 - exactly!
what about the new lark max they record internal on sd,,,so maybe we shd start skipping sony and sennheiser wireless
when i was shooting interview , i got a small olympus voice recorder , not the graterst sound recorder but last wery long and is cheap 30-50euro , i think i ill get a second one or zoom h1 ,
Nice one!
Another banger!
I use the rode wireless go 2 system which allows recording.
My audio friend said imagine that you footage dropped out in the cinema. Could the story still be heard?
Nice, never tried those but I hear good things!
@@LucForsyth it’s what I can afford. If I had the budget I’d strap a guy called Andy to my set up and let him deal with it.
I recently shot a promo for a show. The Industrial building we shot in was an A+ visually. It was a working power generating plant. A constant background noise. Audio was rough. It made my life hell. We have access to the building whenever we want it but that hum noise.
Question, if you jam audio do you need to keep all the cameras on? If you need to shut them down for a few... do I need to jam everything again? Thanks.
Ugh, the nightmare scenario! With TC boxes they should be powered independently so they’ll run regardless of whether or not the camera is on
Note, with a stand alone recorder most have a headset plug, so it can be plugged into a radio transmitter for audio monitoring. Without radio drop outs recorded. For what i do a clap or a clap board is not that hard to use. Filming into camera i find far more risky and troublesome due to multiple level adjustments, leads and radio problems.
You're right, it's usually better to go external, but some clients don't want the extra step in post.
What do you think about the Sennheiser AVX-ME2 ? I am considering it over the Sennheiser Pro Audio EW 112P G4.
I had an issue with the AVX because of the slight latency via Bluetooth. The delay made monitoring pretty weird so I got rid of it and use the G3s instead. Personally they don’t work for me, but let me know if you have a different experience!
11:37 - You can actually monitor the audio on the Tentacle Track Es. They enabled it during a firmware update.
On the topic:
ua-cam.com/video/1fVoe7rjU7k/v-deo.html
Yes! It’s still not as convenient as headphones in the camera, but it’s great they’re doing this
I just saw a 90degree xlr adapter? May i ask where you got that from. Im searching for a few days now, and only found one for 300bugs. Or is that a cable with one 90degree end?
It’s just a short xlr cable with 90 degree end
weird question: if i have two camera's next to each other, can I use a 3.5 splitter to send common Timecode signals into both, thus saving me an extra TC-1 expense?
Hmmm, that’s a good question! I have no idea unfortunately - anyone out there know?
You can easily synchronize multiple audio tracks in Adobe Premiere without timecode, simply by two-click analysing your footage.
Great tip…in my experience it doesn’t always work as well as time code, but it can be a good starting place
There's the DJI mic but you need to use specific lav mic.
Good to know!
What do you think about rode wireless go 2, with a fancy lav mic?
I got this setup - though not sure what is fancy lav - I got Lav+ from rode and they work well - one important point - you cannot adjust gain on receivers so need Lav thats not too hot - good to check youtube videos about the setup. in my opinion they sound good and are lightweight and budget friendly.
I’m sure it would work great. Have some friends using these and they seem to like it!
Great video as always! I already own the Tentacle system with one Track E. I considered it to be one of the better purchase I’ve made so far., great system for me. I gained great value from this video as I’m looking at upgrading boomed mic.
Same. And I can’t see them going out of date anytime soon, so I think they’re great investments
The faint tinny music in the background of this is quite irritating once you notice it.
2:36. What is that viewfinder system you have?
It’s a small HD 502 ultrabright with a wooden camera monitor arm
Have you ever had audio ruined by lav rustles when using the Tentacle E ? That would be my worst fear when using external recorders that I can’t monitor while shooting.
Not yet, but to be honest when I’m doing multiple lavs on people without a sound person I just take extra care when attaching the mic and then accept that it’s slightly out of my control! You also CAN monitor them through the app, it’s just not as convenient as with normal transmitter system. But at some point if you’re all alone running multiple audio tracks there are going to be some trade offs. At the end of the day, even with a bit of rustle having the audio is so much better than having nothing.
Can I jam sync the Track-e to my deity tc-1 timecode generators?
That’s an interesting question - I’m not sure actually. I think in theory it should work but probably depends on the proprietary systems from each company. Let me know if you find out!
Hi Luc, how do you feel about the wireless DJI Mic as a lav mic? It has two transmitters and is super-convenient, but is the audio good enough for a pro documentary?
I’ve never used them personally, but they seem good. I’d say replacing their mic with something like a sanken cos-11 would help a lot
@@LucForsyth Thanks Luc, I'll check that out :-)
They don’t have time code so can be limiting for the future
Great video Luc I use a tascam dr 10L for my Lav. I don’t have time code so I can see what you mean by it being had to sync In post lol
I, also, use my Sennheiser MKE 600 for video meetings. I no longer need earphones or pods during the meeting. Talk about point and... listen!
Super useful mic!
Good audio gear is indeed the path to happiness as a videographer.
Yes, 💯!
Another good option would be a set of Rode wireless go 2 - that will give you one receiver + 2 transmitters. They both have internal recording and you can split the signal into 2 channels
Do you happen to know how the 2 channels can be synced?
@@manoasky not sure I understand your question.
Nice…is that what you’re using right now Thomas?
I can attest that those Rode Wireless Go 2 are life changing. I’ve picked up a set myself a couple of weeks ago. Before I had a wired lav I would need to route under my shirt every time I wanted to make a quick video, and I had it plugged in to Zoom H4n, which is extremely bulky and wouldn’t fit in any pocked, so I would just carry it around. And then syncing it up in post was just another unnecessary step. Now with wireless I just clip a transmitter to my pocket and I’m good to go in 2 seconds, that really helps with capturing those spontaneous ideas.
However when I tried to connect the Rode receiver directly to H4n ext mic port it would record some screeching interference (EMI from wireless probably?), but that’s a rare use case for me
@@LucForsyth yah. And I’m quite happy about it. The internal recording option already saved my ass in a couple of occasions.
The ntg3 link is the same as the MKE 600
whoops! Thanks!
Panasonic has a 2x xlr top module 😁
The rode video mic pro i am somewhat disappointed with this mic. That is because it is a wind magent. I use a deadcat and foam. It still picks up wind. I now rarely use it as it is windy where i live. I love using a tascam DR-05 which is a seperate recorder. It gives amazing sound for its price, but you need to sync the sound in post. I generally don't plug into the camera these days just set a number of recorders and then sync in post.
Yeah, it's not perfect. But good considering the price. the $999 sennheiser is much better, but you get what you pay for and wanted to give options at all price points
You can monitor all sound via app.
Yep, it works, but it's just more stuff to deal with - much easier to monitor in camera IMO
You can upgrade the tentacles to Bluetooth by using a Bluetooth adapter. You just plug it into the headphone jack on the tangible and connect your headphones to the Bluetooth adapter. Cheap (under 60€) and super reliable
If you are using mics outside, the 'best mic' might not be the 'best mic'. Different mics are more or less sensitive to wind noise. Make sure the mic doesn't respond to wind easily, even with a dead cat. The video mic pro, by rode, is basically useless outside in wind, whilst their smaller video mic is good for wind with the dead cat. A cheaper mic sometimes is better for the application.
Has anyone here had experience using the rode ntg 5 and sennheiser mkh 416? Would like to know if you found them similar enough that it’s worth saving the extra $ and getting the rode, or if I should go the buy once cry once route with the sennheiser
I’ve used an NTG3 and the 416 both for years, and the 416 is better but mostly noticeable in a side by side comparison. Since audio gear almost never goes out of date, if you can afford it I’d still go with the 416 though. If you’re planning for the long term there’s no reason you couldn’t use it for 10 years or more and on that timeline you’ll forget about the price difference pretty quickly. That said, if you’re pressed for cash I think you’d also be very happy with the rode and should t feel like you have to get the more expensive mic just to tell great stories. Hope that helps!
@@LucForsyth Thanks that's good to know. The difference could basically get me a COS-11D for lav so I think overall that might be the best route as its just for one project. Thanks!
I don’t get the need for a time code system when you can just automatically sync audio by their waveforms
Correction there's no way of getting around the recording and monitoring at the same time because you have to pay the patent troll fee to the company who decided that a recorder and a transmitter combined in one box was something completely new.
This drives me nuts because I'm sure nobody else thought that a radio mic and a real to reel recorder strapped to somebody would be really handy but also bulky, I know hey new technology can do that and it seems so ordinary but one company has exclusive rights because our patent system is broken.
I've never met a DP who considers audio necessary. 😂 Seriously though, I know I'm working with an amatute when they don't even consider it.
One piece of advice I always suggest to newbs and pros alike is 32 bit float.
Thoughts on the fn8 pro? Specifically having to edit audio in post because of its 32-bit default?
Audio is more my field 32 bit float great makes it easy......
it's the best!
There are lots of high pitched squeaks throughout the video, sounding almost like new shoes on the basketball court, if you get the sound I'm referring to. For example, around 11:07 just before you say "think", 11:15 right before you say "twenty person", at 11:20 right at the jump cut, etc etc. Very distracting and annoying (and, ironic for a video about sound?)
Excellent video! If you see a bunch of likes and views coming your way over the coming weeks, it'll be me checking out all th helpful content :)
How did you know? I had a gimbal in my Amazon cart for ages ? 😂😂😂
Just get a sound guy. You'd make a good friend and it would probably be cheaper than buying all the equipment you would actually need.
I don't disagree!
but the audio is better into recorders . why spend money on mics then use camera audio
1. Get a stereo mic for your cam, stereo is not a luxury for everything aside 3 second commercials. 2. If there are more than one person behind the camera, hire a sound operator.
Luc why you playing music in the background please don’t do that again golly I love you though ❤️❤️
And then boom the dji mic drops
u say if u use sony wireless u have to keep the handle but u cant run audio if the handle is not there, and, if you have an fx9 then u re rich
Hire a sound Recordist with more than ten years of experience. If you are this newbie, don’t pretend this is a normal ‘cinematographer’. Bless you for having a hobby but you minimize the whole profession with this type of advice.
Expensive Sennheisers...??? Okay, I'll work on it. Let me check my pockets...And...so...what's the matter with less expensive systems like Tascam or DJI's??
There’s nothing wrong with less expensive systems. This is just what I have and use, and I can’t recommend things I don’t have experience with. Use whatever works for you
Stummfilm
Anyone else distracted by his BG audio?
In the audio episode no less! 😬
@@LucForsyth lol.. Bruh.... Right? Excellent content tho.... Found you a while back.... Been here ever since
It's not that complex just buy a rode wireless go 2 and get on with it
That would work too
Family guy clip, I think! But that was great! Stupid musicals
Another great video, cheers! Rapidly becoming one of my favourite UA-cam channels. I'm a die-hard Tentacle Track-E user and there is an option for bluetooth monitoring with recent firmware updates. You can also directly monitor by plugging a set of headphones into the recorder - this only works with units sold outside the US as there's an active patent preventing manufactures from including this feature. There are a few mini 32-bit float recorders out there, but the Tentacle TRACK Es still seems to have the best noise floor of the bunch. I feed Sanken COS 11Ds into mine and the resulting tracks require minimal processing. These units have saved my arse a dozen times or more. I HATE to use this phrase, but it has been a game changer for me and my team. Simple works best.
A note from Tentacle Track E page about wireless monitoring:
"Since TRACK E firmware version 2.0.3 you are able to wirelessly monitor TRACK audio during recording with the Setup App on your smartphone via Bluetooth." tentaclesync.zendesk.com/hc/en-us/articles/4419659776529-How-does-the-TRACK-E-audio-monitoring-with-the-Setup-App-work-
These are great tips, thanks man!