- Are the Rycote shock mounts better at isolating boom pole movement from the microphone vs. rubber band style mounts?
- How would you record a comedy routine with a live audience?
- Which camera should I get (From the perspective of a sound guy)?
- Is timecode going to replace slates/clapperboards soon? What’s with these expensive timecode slates?
- How would you record podcast sound and livestream via Facebook live at the same time using the Zoom U-24?

Links to Gear We Discussed:

Rycote Lyre Pistol Grip Shockmount (bare bones and my go-to mount for indoor booming)

Rycote Cyclone Windshield with Lyre Shockmount (go-to for outdoor booming)

Presonus FaderPort - Hardware fader controller which works with Adobe Audition and other audio editing apps.

Panasonic FZ2500 - Fixed lens, 1” sensor, ND filters (wouldn’t be my first choice because the sensor is a little on the small side)

Panasonic G7 - Interchangeable lens, micro 4/3 sensor which is larger, no ND filters (this would be my choice over the FZ2500)

1/4" to 3.5mm TRRS cable for feeding audio from Zoom UA-24 to smartphone

Ambient Timecode Slate

Previous Near Field Monitor (speaker) Comparison

Focal CMS 40 monitors - These were my favorites in the comparison a year ago but I still wanted to first try the 6.5 inch woofer version. Remember, with monitors, they are sold individually so you need to buy 2

Focal CMS 65 - Same as the 40s but with 6.5 inch woofers and bass response that reaches a little lower on the spectrum. These are on closeout so a good time to buy if you’re in the market.

Focal Shape 65 - These are the newer versions of the CMS. Will be included in our upcoming comparison

Electrovoice RE20 Dynamic Broadcast Microphone (this is the mic I used for this session)

Antelope Audio Orion Studio Audio Interface (This is what I used to record my sound for this session)

Curtis Judd

June 14, 2017

Camera Gear

Three Tools for Filmmakers

Curtis Judd

June 14, 2017

Camera Gear

Sometimes little things make a big difference when you’re shooting on location or in studio. That’s what I’ve found with the three tools for filmmakers we discuss here: Leatherman tool, Rabbit Camera Key, and Stand Daddy stabilizers for your light stands and tripod.

Gear used to record and covered in this episode:

Leatherman Wingman Multi-tool

Leatherman Sheath (Be the ninja-nerd on set who can fix anything because your multi-tool is always with you)

Rabbit Key (Camera Key - never struggle to attach or detach a quick release plate or camera cage again)

Stand Daddy Tripod/Light Stand Stabilizer System - For a limited time, exclusive discount for our little community: use coupon code 15MORE to receive 15% off

Panasonic GH5 Camera

Atomos Ninja Inferno HDMI Recorder (simplifies exposing for HDR/LOG and records amazing 4:2:2 10-bit footage from GH4 or GH5)

Sound Devices MixPre-6 Audio Recorder & Mixer

DPA 4017b Shotgun Microphone (my pro-level outdoor mic)

Panasonic Lumix 12-35mm f/2.8 Lens (1st Generation)

Lifecharge USB Battery (for powering the MixPre-6)

Curtis Judd

June 10, 2017

Camera Gear, Color Correction/Grading, Technique

Exposing for V-Log/HDR with Panasonic GH5 and Atomos Ninja Inferno

Curtis Judd

June 10, 2017

Camera Gear, Color Correction/Grading, Technique

When I first added V-Log to my Panasonic GH4 a few years ago, I was disappointed with a lot of the V-Log footage because it was so noisy. I was hesitant to add V-Log to my GH5 but went ahead and spent a little more time experimenting with it to see how to get the best possible footage. With the help of an Atomos Ninja Inferno HDMI recorder, I’ve learned that it is really just a matter of making sure that you set your aperture and ISO a little differently to optimize the exposure for V-Log. And with the ATOM-HDR feature on the Ninja Inferno, it is even easier to quickly dial in the exposure for V-Log. So here’s how to shoot great looking V-Log video footage on your Panasonic GH4 or GH5.

Gear used to record this episode:

Panasonic GH5 Camera

Panasonic V-Log Firmware Upgrade

Atomos Ninja Inferno HDMI Recorder (simplifies exposing for HDR/LOG and records amazing 4:2:2 10-bit footage from GH4 or GH5)

Sound Devices MixPre-6 Audio Recorder & Mixer

DPA 4017b Shotgun Microphone (my pro-level outdoor mic)

Panasonic Lumix 12-35mm f/2.8 Lens (1st Generation)

Lifecharge USB Battery (for powering the MixPre-6)

Curtis Judd

June 8, 2017

Audio Gear, Audio, Sound for Video, Sound Session

Sound for Video Session: Mixing Headphones Compared

Curtis Judd

June 8, 2017

Audio Gear, Audio, Sound for Video, Sound Session

In this week's Sound for Video Session, we compare 6 sets of headphones for mixing film and video projects (plus a bonus set that almost nobody can afford, just for fun). We also cover why using headphones alone is not ideal and can make mixing a frustrating experience. We also underscore the importance of reviewing your mixes on lots of different playback systems: Near field monitors, hifi system, car sound system, smartphone earbuds, TV, etc.

Jump ahead to particular headphones:

06:55 AKG K240
12:37 Beyerdynamic DT 880 Pro
16:10 Audio Technica ATH-R70x
20:09 Shure SRH1840
22:45 Sennheiser HD 800
25:23 Audeze LCD-X
30:40 Sennheiser HE 1 Orpheus

Gear discussed in this session:

AKG K240 Studio Pro Semi-Open Back Headphones

Beyerdynamic DT880 Pro Semi-Open Back Reference Headphones

Audio Technica ATH-R70x Pro Reference Headphones

Shure SRH1840 Pro Open Back Headphones

Sennheiser HD 800 Open Back Headphones

Sennheiser HD 800 S Open Back Headphones

Audeze LCD-X High Performance Reference Planar Magnetic Headphones

Sennheiser HE 1 Orpheus Headphones

Curtis Judd

June 4, 2017

Sound for Video, Sound Session

Sound for Video Session: Reduce Reverb with Izotope RX 6

Curtis Judd

June 4, 2017

Sound for Video, Sound Session

In this week's Sound for Video Session, we discuss how to reduce reverberation. The best way is to use sound blankets while recording. But if that doesn't work out, then this is how to *reduce* reverb, not eliminating it, in Izotope RX 6.

Previous session demonstrating how to use sound blankets to reduce reverb while recording:

Gear used to record this session:

Electrovoice RE20 Dynamic Microphone

Antelope Audio Orion Studio Audio Interface

Sound Blankets

Spring Clamps to hang sound blanekts

Century Stand to hang the blankets

Curtis Judd

June 3, 2017

Lighting, Lighting Gear

Aputure Amaran Tri-8c LED Panel Light Review

Curtis Judd

June 3, 2017

Lighting, Lighting Gear

Aputure has produced some very impressive panel and single point LED lights over the last couple of years and now thy have a new addition to their Amaran (entry level) LED panel lights: The Amaran Tri-8 series. This new series includes daylight and color tunable versions. The color quality scores nicely in our tests relative to a good old-fashioned tungsten light, we didn’t find any flicker (an issue with some LED panel lights) and found this to be a great little light to act as a fill, a hair light, an accent light, or even a key light.

Gear used to record this episode:

Aputure Amaran Tri-8 LED Panel Light

Aputure C120d (daylight hard light)

Aputure Light Storm LS1 Panel Light

Sound Devices MixPre-6 Audio Recorder & Mixer

DPA 4017b Shotgun Microphone (my pro-level outdoor mic)

Panasonic GH5 Camera

Panasonic Lumix 12-35mm f/2.8 Lens (1st Generation)

Lifecharge USB Battery (for powering the MixPre-6)

Curtis Judd

May 28, 2017

Audio, Sound for Video, Sound Session

Sound for Video Session: Road Noise, Asymmetric Waveforms & Phase Rotation

Curtis Judd

May 28, 2017

Audio, Sound for Video, Sound Session

In this week's Sound for Video Session, we discuss two questions:

- How do I reduce road noise for recordings in cars?
- How do I fix asymmetric waveforms without spending $800 CDN on Izotope RX?

Gear used to record this session:

Electrovoice RE20 Dynamic Microphone: http://amzn.to/2rtAWHV

Antelope Audio Orion Studio Audio Interface: https://bhpho.to/2lRXBtG

Curtis Judd

May 27, 2017

Audio, Audio Gear, Sound for Video

Sound Devices MixPre-6 Audio Recorder/Mixer: Initial Impressions

Curtis Judd

May 27, 2017

Audio, Audio Gear, Sound for Video

The Sound Devices MixPre-6 (and MixPre-3) are the newest recorder/mixer series from Sound Devices. These are targeted at enthusiast filmmakers, Vloggers, podcasters, mobile musicians, and even as backup recorders for professional sound mixers.

In this episode I share my initial impressions after having the MixPre-6 for about 48 hours and having used it for a voice-over job.

If I had to sum it all up: Amazing value, great preamps with analogue limiters and low-cut filters, good ergonomics, tough build quality. Does not replace pro-level recorders but a great feature set for the price and a good option for enthusiast filmmakers, video makers, mobile musicians, and podcasters.

Gear used to record this episode (or mentioned):

Sound Devices MixPre-6 Audio Recorder & Mixer

Sound Devices MixPre-3 Audio Recorder & Mixer

DPA 4017b Shotgun Microphone (my pro-level outdoor mic)

Audio Technica AT4053b Microphone (my pro-level indoor mic)

RODE NTG2 Shotgun Microphone (good prosumer outdoor mic)

ElectroVoice RE50L Dynamic Reporter’s Microphone

Panasonic GH5 Camera

Panasonic Lumix 12-35mm f/2.8 Lens (1st Generation)

Lifecharge USB Battery (for powering the MixPre-6)

Curtis Judd

May 20, 2017

Audio Gear, Audio, Sound for Video, Sound Session

Sound for Video Session: Timecode Hardware & Compression in Izotope RX

Curtis Judd

May 20, 2017

Audio Gear, Audio, Sound for Video, Sound Session

In this week's Sound for Video Session, we have a look at some timecode hardware options and briefly discuss compression in Izotope RX.

Links:

Timecode Generators Comparison Spreadsheet

Previous session where we demonstrated timecode workflow:

Previous session where we demonstrated compression/loudness normalization in Izotope RX:

Gear Discussed in this episode:

Tentacle Sync Timecode Generator - Comes with Tentacle Sync Studio which is a one option among 3 options you will need if using a timecode generator with a camera or recorder which does NOT have a dedicated timecode input.

Moze Gear TIG Q28 Timecode Generator - The other generator I use. Great, solid design which you set using tiny switches. No fuss, no fancy wireless, just solid timecode.

Ambient NanoLockit Wireless Timecode Generator - Very interesting new wireless timecode generator at a reasonable price.

Timecode Systems :wave Wireless Timecode Generator with Genlock, Wordclock and B:link - sophisticated wireless timecode, genlock generator/transceiver. This is much more expensive but also much more capable.