RØDE TX-M2 is a wireless handheld condenser microphone which is now being sold separately to complement the RØDElink kits – Filmmaker kit and Newsshooter kit. It transmits 128-bit encrypted signal on the license-free 2.4GHz spectrum and can be powered either by Li-Ion battery or two AA batteries. RØDE TX M2 Wireless Microphone. Source: RØDE A wireless microphone kit is a vital piece of equipment for any filmmaker who needs to record an interview but doesn’t have a sound recordist at hand. The Filmmaker Kit from Australian audio specialist RØDE has been out there for a while. It is a simple and comparatively inexpensive wireless digital sound kit with lavalier microphone, transmitter, receiver and 3,5mm jack in-camera cable. The company also already offers the Newsshooter kit which consists of the XLR wireless transmitter (for direct handheld mic plug-in), receiver and 3,5mm jack in-camera cable. RØDE is now presenting the RØDE TX-M2 – wireless handheld condenser microphone – to complement the RØDElink Filmmaker kit (or the Newsshooter kit). It has previously only been available in the Performer kit, but now is also being sold separately. This portable handheld mic houses a super cardioid condenser capsule providing low handling noise and clear audio. It transmits a 128-bit encrypted signal on the license-free 2.4GHz spectrum and it pairs easily with the RX-DESK and RX-CAM receivers. The RØDE TX-M2 uses next generation digital wireless technology to constantly monitor frequencies and automatically switch to the strongest possible signal level for the best quality of sound. The RØDE TX-M2 can be powered either by the included LB-1 Lithium-Ion rechargeable battery for up to 10 hours on a full charge, or 2 x AA batteries for up to 6 hours of use. That’s a nice little feature in my opinion as a lot of filmmakers including me already carry a couple of precharged AA batteries to the set for various other devices. Now these spare batteries can also be used as a backup power source for the mic for long interviews. RØDE TX M2 Wireless Microphone. Source: RØDE RØDE TX-M2 Specifications Weight: 222g Transmission type: 2.4GHz fixed frequency agile system System dynamic: 118dB range Range (distance): Up to 100m/328′ (based on optimal environment) Frequency response: 35Hz – 20 kHz Max input signal level: 140dB SPL Power source: RØDE LB-1 4.2v Lithium-ion Rechargeable Battery or 2 x AA Batteries Antenna: Diversity antenna Dimensions (W x H x D): 40mm x 256mm x 40mm The RØDE TX M2 Wireless Microphone is available now for preorder. Do you use a wireless microphone kit from RØDE or other manufacturer? If you own a RØDE Filmmaker kit will you be adding this handheld mic in the set? Let us know in the comments below.

Here’s a tip for recording dialog that those of a more visual stripe may find both surprising and useful. Roles are blurring. As media distribution has accelerated and the cost of production equipment has come down, many check-writers have expected labor costs to follow suit, and technicians of various stripes have had to become competent at non-traditional tasks. In the realm of audio for video, this has brought some over-simplification of what is in fact a craft every bit as complex and challenging as cinematography. I’ll leave the in-depth instruction to the seasoned recordists, but here’s a tip from the sound world that may just kick your one-man-band dialog recording up a notch or two. In the film and video industries, the iconic status of the shotgun mic, wrapped in bedraggled feline, has led many shooters to think of it as an accepted all-around microphone. For many, learning of the directional pickup pattern of this instrument is quite enough to convince them that it is the right tool to live at the end of their boom ninety percent of the time. As it turns out, the shotgun mic is one of the most specialized microphones of recording history, and its design makes it optimal for only a slim range of applications. Interference Tube Design How does a shotgun work? The basic principle is that of the interference tube. Omni-directional microphones have a diaphragm that is open to the world on one side, but almost fully sealed on the other side. Interference tube mics on the other hand are much different. They allow sound waves to arrive at the diaphragm from the back as well, but they require that these waves first travel through a long tube with slots cut into it. This tube and these slots are tuned in such a way that there is a time difference between a given impulse (e.g. the sound of a ‘p’ from a mouth 90 degrees off axis from the mic) reaching the front of the diaphragm and that same impulse reaching the back. Polar Response of the Shure VP89L Shotgun Mic. Notice that off axis, the mic is more sensitive to lower frequencies and less to higher frequencies, resulting in a very colored sound. This time difference results in an interference pattern: because sound waves are essentially waves of alternately increasing and decreasing local air pressure, a time difference of this kind, if it is tuned just so, can result in the waves canceling each other out (or interfering) when they meet. However, this tuning can only be optimized for a given target frequency range, as the interference tube length is different for different frequencies. This design is highly specialized. It is excellent for a slim range of applications. However, its only real virtue is its directional — or focused — pickup pattern. To attain this end, it makes two very important compromises. These are inherent in the design logic, so no matter how high end the product is, these compromises will never fully be eliminated. Sound Quality Once again, the “directionality” of shotguns — their ability to record sources directly in front of them at a higher volume than sources from other directions, is actually only fully achieved within a target frequency range. Manufacturers tune the tube like an instrument, adjusting its length and other parameters to make its directionality apply most to the frequencies it will likely be used to record, generally the human voice. But there’s a problem. A given human voice generally peaks in a predictable frequency range, but its entire scope is more extensive. Furthermore, environmental variables, such as the acoustic properties of a room, may emphasize certain tones more than others, which can cause serious problems. If you are using a mic that is more directional at one frequency range, but relatively much more sensitive to bassier sounds from any angle, what happens to the lower vocal frequencies when they bounce off of a wall and arrive at the shotgun from the side, entering its row of slots? Of course what happens is not pretty, and it is very hard to disentangle in post. Wind Sensitivity Thus recordists familiar with this effect have recommended using shotguns only outside, where there are no flat surfaces to reflect low frequencies into the microphone. As fate would have it, the very design that makes shotguns function — their tuned rear entrance to the diaphragm, results in an extreme sensitivity to wind. A simple thought experiment will illustrate why. Imagine you are holding a piece of kitchen plastic wrap, slack between two fingers. If you blow across the surface of this, it will vibrate very quickly and easily and produce a loud, flatulent sound. Now imagine you formed this same piece of thin plastic into a balloon and inflated it. If you blow across the surface of this balloon, it will now have very little effect. The thin, light-weight diaphragms of microphones behave in a similar way. The less pressure difference there is between the two sides of the diaphragm, the more susceptible to wind-noise it is. As explained above, shotguns employ “interference tubes,” and this design involves an atmospherically open back to their diaphragm. This open-backed design results in a much less pressurized diaphragm, and thus a much higher wind sensitivity. To solve this, recordists have, as we all know, resorted to large and expensive blimps and “dead cats.” Once again, in certain scenarios, this combination of technologies is an invaluable tool set that more than justifies it significant cost and quality sacrifices. It is hard to imagine many films being made without this powerful technology being available for cases when nothing else will do. However, it would be foolish to think of the shotgun mic as a first-resort, all-around solution, either indoors or outdoors, but especially for shooters who regularly record indoor dialog in a relatively quiet space. In these situations, nothing could be less appropriate. So What’s a Good All-around Dialog Mic? Of course the answer to this questions depends on a number of things. For instance, if you can only afford one boom microphone and you regularly shoot in very noisy environments, then a decent quality shotgun may well be the right all-around tool. If, however, you shoot a lot of interviews indoors, and the room is relatively quiet, then even those who can only afford one quality mic will likely be better served by a supercardioid. These microphones are nearly as directional as commonly used shotguns, but their sound quality is generally far superior. Two of the most loved of these microphones among dialog recordists are the Schoeps CMC641 and the Sennheiser MKH 50. For those on a budget, other respected manufacturers make very capable instruments at a more affordable price point. In particular, the Audio Technica AT4053b is absolutely worth a listen. While an in depth look at supercardioid options is a subject for another post (watch this space!), here’s a brief overview of these three microphones to get the ball rolling. We will start with my personal favorite, the Sennheiser MKH 50. While it is not a perfect instrument, this microphone has a lovely build quality, an equally lovely tone, and like most supercardioids, is very versatile. It is not a perfectly accurate mic, but rather has a bit of color, a subtle emphasis in the low-mid region of the vocal range. This slight coloration is flattering to most voices, and is similar to the post processing often favored for vocals. Schoeps CMC641 For those on a tighter budget, Audio Technica has established itself as a reliable source of very good quality microphones for the money. While technically a hypercardioid, the AT4053b is also worth considering. It is not perfect, but produces a respectable off-axis neutrality and a pleasing sound for most voices. Especially given the noisiness and other problems associated with lower quality shotgun mics, Audio Technica’s solid hypercardioid fills a very important gap in the market. The Schoeps CMC641 is the most accurate and precise option, and it’s a thing of beauty. While it is not quite as rugged as the Sennheiser, whose products are known to be particularly water and shock resistant, Schoeps is a very high quality manufacturer whose products are reliable. If you prefer to record dialog and other sources in a rigorously accurate way and plan to leverage the freedom to tweak the precise tonality of each voice in post, it is hard to do better than the Schoeps. Conclusion It may be time to revise the common advice that a lapel and shotgun are the right first investments for film and video shooters. While shotguns are invaluable tools, the simpler technology and superior sound of supercardioids (and sometimes hypercardioids) make them a very nice middle-of-the-road solution for many uses. What do you think? Is it time to moderate the shotgun-philia of the video industry? What experience have you had with different boom microphone types? Let us know in the comments!

On a shoot, a lot of things can happen, and you have to be prepared for the worst. Here are various tools and accessories that can really save you on set. I never leave home without them. When I’m going on a shoot, I always make a list of the gear I’ll need. That gives me the peace of mind that I haven’t forgotten anything. Light kit? Check. Camera? Check. Grip? Check. But even if you prepare yourself for days in advance, you never know what might happen or the number of things you’ll have to fix directly on the shoot. That tiny screw that doesn’t want to come out, the electric cords that you need to secure, the little adapter you left on your desk… Here is a comprehensive accessories list, in no particular order, for a solo operator or small crew. It has saved me a hundred times. A multi-tool You should always have this accessory in your pocket, even in your everyday life. It’s basically a 12- to 26-item toolkit (depending on the model you choose) in one package. The basic incorporated tools that you’ll need are: Regular pliers Philips screwdriver Flathead screwdriver A straight blade A bottle and can opener because we never know. A multi-tool will let you quickly repair, cut, and unscrew things, whether related to camera, light, or grip. The best-known brand of top-notch multi-tools is probably Leatherman, but you can also take a look at the ones from Gerber and Victorinox. When I started in the industry, I made a mistake and bought a cheap, off-brand multi-tool. As you can guess, it totally broke, and I ended up buying a new one a year later. Save yourself some time and money, and buy an established, reputable brand—it’ll last you at least two decades. When you’re traveling take care not to put this in your hand luggage, you’ll not go through the check-in process with this tool. A set of tools In addition to my multi-tool, I always carry some other basic tools: different sizes and types of screwdrivers, a wrench set, some hex keys, a couple of spring clamps… With those simple tools, you are covered for all manner of basic fixes on set. Gaffer tape Let’s keep it simple here—gaffer tape is really THE accessory that you can use to fix anything on set. I could make an entire book about the uses for this stuff. You can secure cables, label gear, attach your microphone (if you forgot the microphone mount at home), or put a piece of gaffer on a shirt to cover the brand… Imagination is the limit. You can tear gaffer tape with your hands, yet it is super strong, sticks to everything, and doesn’t leave any residue on whatever surface you put it on. Gaffer tape is available in multiple colors and different widths. From the basic black 50mm gaffer to the electro green 25mm, it’s a good idea to have a few different rolls in your bag. A pair of gloves Here, you have the choice. I always have a pair of “grip gloves” in my bag. They are designed for manipulating hot lights, and they keep your hands clean when handling dirty things, like for example, electric cords in a muddy environment. They are made of leather and are extremely resilient and comfortable. They just won’t protect you from the cold. If you’re not manipulating hot lights, some more technical gloves could be a better fit for you, like the ExoSkins from Bright Tangerine. They will protect you from the cold, protect your hands from cuts, the fingertips are compatibles with touchscreens, and you won’t feel like you are wearing mittens. The downside is, you won’t be able to manipulate hot lights. So it’s your choice. Ideally, you can carry both in your bag—it never hurts and won’t add that much weight. C-47s C-47s or clothespins, call them what you want. They are used to attach gels directly onto the barn-doors of your light. I prefer the wooden C-47s because they don’t melt like the plastic ones. Get a lot of these, because you’ll lose some from shoot to shoot. Cleaning kit I carry my lens cleaning kit inside my accessories bag, in its own pouch. I usually try to clean all my lenses before I leave home, but dirt always comes in during a shoot. What everyone should have in his or her kit: A can of compressed air. The industry standard is probably Dust-Off ®. It’ll get rid of most of the dust, but try to never spray it directly in the front element of your lens. An air blower like the Giottos Rocket Blaster. Flip your lens upside down so the dust doesn’t go inside it, and a couple of squeezes on the Rocket Blaster should remove the last dust particles. A lens-cleaning solution. I personally use the Rosco Lens Cleaner in conjunction with the Rosco Lens Tissues. Lens tissues are cheap and one-use only. Speaking of lens-cleaning fluids, other companies also make some nice ones, like Pancro or Zeiss. Try to avoid micro-fiber lens cleaning cloths—apart from brand new ones, they’ll never be clean again. If dust or particles are inside your micro-cloth tissue, they can ruin your cleaning, or even worse, scratch your lens. Poly Bag / Rain Cover I’ve had my 4′ x 4′ poly bag for years now, proving that sometimes the simplest accessories are the most useful ones. If it suddenly starts to rain, I can quickly unfold it and put it over the camera and camera bag. Some lights The shoot is over, it is nighttime, and you now have to pack everything in your car. You want to switch your Fresnel lights off so they can cool down, but if you do, you’re left in the dark. Go into your accessories bag and grab your headlight. I have to admit, you’ll not look very sexy, but you’ll easily see what you’re doing and have both hands free. You can also carry a Maglite® in your bag. I have one attached to my accessories bag, so I can look quickly at what’s inside. Emergency electric cords This is what I like to call the emergency kit. Are you out of extension cords or power outlets? I always carry along two extension cords and a couple of electrical power strips, just in case we underestimated on the gear list. Pens and sharpies Inside the accessories bag, I have an entire pouch dedicated to pens, sharpies, permanent markers, bold pencils, etc. I use them to write on the script, write on the slate, write on the ground, write on the gaffer tape, write marks on the follow focus, and so on.  Try to get yourself different colors and different kind of marking tools so you can write on anything. But please, don’t write with a permanent marker on the slate. Screws It happens so many times—you never have the right screw with you. So one day, I decided to buy nearly every camera screw and every screw adapter I could get my hands on. From ¼ to 3/8, from 15mm to ¼, the list of situations you’ll face is endless. Get yourself a little box, and put a lot of them inside. It can really make your life easier. Audio and video adapters Similar to screws carry a small bag, I personally use a Think Tank Cable Management 20, with an assortment of video and audio adapters so you’re covered. You came to shoot an event, and you want to get the sound from the stage directly into your audio recorder. Those XLR / 6.3mm / 3.5mm / RCA adapters, plus the male/female ones will ensure that you’re good. It’s basically the same for video adapters—from HDMI to SDI, male/female, just get a bunch of them. Slate It can sound like a cliché, but a basic slate can really be useful. Apart from making you look professional on set, it’s a cheap investment that will last your entire career. Sure, you can do it with your hands, but it’s no fun. Medical stuff The most surprising part of my accessories bag is probably the small pouch dedicated to first aid supplies. I always bring a bunch of ibuprofen, some antiseptic tissues, and a couple of bandages with me. It’s easy to cut yourself on set, or someone is having a headache. They’ll truly appreciate that you take care of them, and you can keep your shoot going. The bag This one is really personal, but after years on set, I chose to store everything in a CineBags CB11 Production Bag. This bag is awesome, well-padded, easy to carry around, and you can store a lot of things in it. On the outside, there are three pockets. I use one for my electric cords, one for the slate and the polybag, and one for my business cards and documents of the day. But what really sold me on this bag is the inside and how everything is stored. There are four pouches and four mesh zip pockets inside for storing all your parts. If you label everything inside, it’s really easy for someone on set to open the bag and find what they need. This bag has been clearly designed by people in the industry to make your life easier. These are the fundamental accessories I always bring with me, on every type of production. And you, what do you bring with you on every shoot? Let us know in the comments down below!

The SC6-L is a 3.5mm-to-lightning adapter, and RØDE’s newest move on the mobile market. This might seem out of place for RØDE, until you realize that they’re selling it in bundles with the smartLav+. Inputs and Outputs The SC6-L (talk about a mouthful) allows for two microphones and a set of headphones to be plugged in simultaneously. This might not be a groundbreaking piece of technology, but it is a much-welcomed addition to their lineup, especially given the growing number of users who have upgraded to iPhones without the headphone jack. I haven’t seen any hard stats, but I have to believe we are the majority now. Updating the Familiar This is an update to their original SC6, which sported two 3.5mm input jacks, and one 3.5mm output. Unfortunately that adapter had a serious flaw: it recorded both audio sources down to one mono track. Recording an interview in mono is a very risky proposition, given that the questions and answers are baked together. Thankfully, the SC6-L records stereo, allowing for much more flexibility with your newly-recorded audio. Two channels are always better than one. iOS App Support Pairing with their “RØDE Reporter” iOS app, you can record 24-bit AAC or MP3 up to 320kbps and export directly to Google Drive, Dropbox, iCloud, or wherever else you like. But of course, that’s just through their app. You can record with whatever app works for you, be that GarageBand or a video app like FiLMiC Pro. However, if you do choose to use their app, you have option to record the incoming audio as one stereo pair or separate tracks. Not only that, but you also have the ability to set microphone pre-gain. The app and the SC6-L are really built to work in tandem. Free, easy, and available now! Where’s My USB? One can’t help but notice that there is no announcement of a similar product for Android users, either with USB-C or Micro USB. While it isn’t unusual for film-related apps and gear to be iOS exclusive, it is still endlessly frustrating and limits the options of indie filmmakers on a budget. RØDE’s “Interview Kit,” as they have dubbed it, includes one SC6-L and two smartLav+’s. Would you feel comfortable using your phone as a recorder on a professional shoot? Do the SC6-L’s features justify its price point? Share with us your thoughts in the comments below.   

Deity has announced a new microphone. The S-MIC 2 is an update to their budget friendly shotgun mic with improved, ultra-low self-noise, continuing to put clear water between them and their buddy brand, Aputure. Aputure announced the original Deity shotgun under their banner, but have since separated the brands as it was a little confusing (why buy a mic from a lighting company?). Confusion aside, the price point of the Deity Shotgun condenser has made it quite appealing, throwing itself in the mix with other filmmaker-targeted budget friendly shotgun mics. Deity says they have listened to users when developing the S-MIC 2. The new shotgun has improved, ultra-low self noise along with an updated true condenser microphone capsule. It’s still machined from 100% solid brass and features an epoxy sealed gold-coated PCB board & moisture-resistant capsule; the hard case it ships with is shock proof & water proof. “The Deity S-Mic 2 features a super cardioid pickup pattern which minimizes surrounding ambient sounds but still offers low off-axis coloration. The S-Mic 2 also is very forgiving when trying to point it at an actor or actress because of its super cardioid pickup, making it a great microphone for new boom operators” Specifications for the Deity S-Mic 2 Polar Pattern: Super Cardioid Maximum SPL: 130dB SPL(@1KHZ,1% THD into 1K ) Frequency Range: 50Hz~20kHz THD: ≤0.5% Nominal Impedance: 75Ω Min. Terminating Impedance: 800Ω Sensitivity: -32±2dB re 1V/Pa @1kHz Equivalent noise level: 12 dB(A) re. 24dB (CCIR 268-3) Input Voltage: 24V or 48V phantom power Current consumption: 1.5Ma Temperature range: -10℃ to +70℃ Dimensions: ⌀19 x 250mm Output: XLR-3M Pad: None Low-Cut: None Microphone Weight: 198g Packaging Weight: 38 x 9.3 x 21.8 (CM) If you’re a filmmaker looking for a budget friendly mic, Deity is targeting the S-Mic 2 right at you. It’s certainly well priced, and can be bought independently or in the Location Kit where it’s included with a Rycote™ pistol grip mount.

Virtually every cinematographer spends a period of their career booking loads of video interviews. Having the right tools for this job is essential. Here’s my take on the most useful accessories for this kind of work and, more importantly, some tips for using them. The basics of shooting a video interview Any good discussion of the best equipment for video interviews has to be clearly focused on what we are trying to achieve. A skilled cinematographer should never be satisfied with received methods alone, but a brief review of classical interview composition will help orient us in this creative task and guide us toward selecting a good, versatile equipment set.The traditional video interview is a medium shot of a single speaker looking just to the side of the camera lens. If the speaker is looking to the left of the lens (as in the above example), she should be positioned somewhere in the left half of the frame. Basic video interview 2 point lighting setup The key light source, today almost always a soft light, emanates from this same “broad side,” to the left (in this example) of the speaker’s line of sight. Depending on the mood of the scene and the photographic goals, the darker side of the subject is gently filled, in varying degrees, by a secondary light source, often a reflector. Subtle interest can be created in the background with a carefully placed light fixture or well-managed natural light. For an in-depth discussion of lighting techniques for video interviews, take a look back at Tim Fok’s excellent guide from last year. 7 Tools to Shoot Stunning Video Interviews: So you have a basic video interview setup: a camera kit, a boom mic, ideally a lapel mic as well, and a good way to record the signals from these microphones, either in the camera or via an external recorder. What other tools do you need to compose an impressive interview shot? 1. Key Light In today’s exciting stream of ever-improving LED fixtures, it is easy to forget the virtues of simple, affordable tungsten lights. For those of us who prefer to own our own equipment and are on a tighter budget, these workhorses can still be very useful. The Arrilite 750 uses a refined reflector design to maximize its output, and its included Chimera-compatible speed ring makes it a good match for a large softbox. It will often be useful to convert the temperature of tungsten lights to daylight, so remember to have a roll or CTB (Color Temperature Blue) on hand. Additionally, while it takes a bit more work to soften its light, a simple, open-faced lamp is a very flexible tool, and can easily be used for dramatic, stage-like lighting when needed. In a time when soft light is too quickly taken as a given, rather than a creative choice, it is worthwhile to surround oneself with flexible tools that resist specialization and repetition. 2. Diffusion Material Softening light is a subtle art. Whether you are using a softbox or not, at least one roll of good diffusion material will allow you to further adjust the qualities of your key light. The angle, distance, and layering of this diffusion material will all produce subtle changes in the quality of light. A large, full roll of diffusion will equip you for interviews and many other lighting scenarios. Numerous qualities and weights of diffusion are available, but Rosco E-Colour #401 Light Rolux is a versatile starting point as it is gentle and relatively soft, but can be layered to produce a more aggressive softening effect. 3. Versatile Reflector Next, a good white reflection surface will help fill in the shadows cast by the key light and create a pleasing smoothness. In a pinch, foam core from a craft store will do quite well, but the compact, portable, and durable Westcott 5-in-1 Reflector Disc is a more convenient and durable solution. Reflectors are no more complex than neutral, white boards of one kind or another. You may prefer a home-brewed solution, or if easy C-Stand mounting is more important than a quickly collapsible product, perhaps you prefer a silk on a solid steel frame. Whatever your style, a good reflector should never be absent on almost any video shoot. A quick note about foam core: while this is generally not a problem, if you are experiencing an acoustic reflection that you can’t track down, a closely-placed piece of foam core may be the culprit. To demonstrate this, talk directly into a piece of foam core and listen to the change in your voice. This effect will be far less pronounced with a thin fabric reflector. 4. Boom Pole Holder The K-Tek Airo ABH1 Boompole Holder is an excellent, simply designed tool for placing your boom pole right where you want it using a C-Stand. These holders are simple to use, but it helps to know the following technique: because it’s difficult to adjust the angle of the boom pole once it is set up, start by setting the C-Stand at a nice height. Next, position your boom mic so that it is about three feet too low. Then use only the C-Stand riser to lift the mic into position. I like to place the C-Stand high enough to allow cast and crew to pass freely beneath the boom pole. 5. Sound Blanket Audio is the life-blood of an interview, and dampening the worst acoustic reflections will generally do far more for your sound quality than a new high-end microphone. A Matthews Sound Blanket will come in handy here, as well as help you pack your gear up safely. Using it is simple. You need to identify the second arrival of sound waves — the closest flat surface that is indirectly reflecting sound from the subject’s mouth into the microphone. We only want sound waves that move directly from the subject to the microphone, so covering this surface (often the floor, or a nearby wall) with this blanket, folded up thickly, can do wonders. 6. Mini Light Stand It’s always good to have at least one compact light stand lying around. The Manfrotto Alu Mini Compact Air-Cushioned Stand is a good, reliable stand for the price. You never know when it will come in handy to hold a small background light, a pop-up reflector, etc. 7. C-Stands Lastly, putting all of these tools right where you want them with ease and professionalism is essential. It’s important to have plenty of solid C-Stands available on set. The Matthews Century C+ Stand is an excellent option because it is light, very strong, and its base can be removed, allowing for easier transportation, especially if you plan to carry your gear in a personal vehicle. Conclusion Video interviews are relatively simple, but extremely important for any cinematographer to master. If put to good creative use, the right tools can help you capture these human encounters in an intriguing and masterful way. Furthermore, perfecting your interview setup is an excellent way to prepare for narrative cinematography, as many of the same principles of lighting and composition are quite useful in the dramatic medium shot. What does your interview kit look like? More importantly, what essential gear has most helped you master the art of the interview shot? Let us and other readers know by commenting below!

Are you a smartphone shooter? Good, welcome to the new age! But you mustn’t neglect decent sound recording just because a gear bag is now superfluous. Meet the new RØDE Videomic ME-L which is designed to fit on your iPhone without any additional cables. The RØDE Videomic ME-L is quite similar to the former Videomic ME but this L version is designed exclusively for the lightning connector found on any halfway recent Apple iPhone. It offers a cardoid polar pattern, a headphone jack and it comes with a WS-9 fur windscreen for shooting outdoors. RØDE Videomic ME-L Since Apple removed the classic 3.5mm headphone jack from its iPhones a few years ago, it has become quite tricky to connect an external microphone. But since the video capabilities have improved dramatically over the the same few last years, shooting with an iPhone has become quite popular. Good video demands for good sound and therefore the RØDE Videomic ME-L comes in very handy. Watch the video below for a brief introduction: The Videomic ME-L sports some interesting features since it’s equipped with the Apple Lighning connector: It can be mounted either in the direction of the subject or vice versa. If you are a Vlogger, this is a handy function, indeed. It also bypasses the audio circuitry of the iPhone completely. It is connected digitally and redirects the entire sound via the ME-L video mic. In this way, only high(er)-quality dedicated audio components are used to process incoming (and outgoing) audio signals. A 3.5mm headphone jack can be found on the back. This is for monitoring the incoming audio. If you want you can also use the Videomic ME-L just as a Lighning – 3.5mm TRS adapter in order to listen to some music. The Mic comes with a adjustable mount so it will fit any Lightning-equipped iPhone/iPad/iPod. Technical Features The built-in microphone uses a directional cardoid polar pattern which enables you to pick up the sound in front of the mic but reject background noise in the rear of it. The whole unit is being powered through the Lighning connector, no additional batteries are required. The audio circuit behind its 1/2″ condenser microphone capsule digitizes incoming (analogue) audio to 44.1 kHz or 48 kHz 24-bit and sends it off to the Lighning connector and to the 3.5mm TRS socket (with D-A conversion) simultaneously. That way you can monitor directly what’s being recorded.   The whole unit is made out of black anodized alluminum and is 73.5mm x 20.2mm x 25.7mm (L x W x H) in size. It weights 28 grams. Pricing and Availability The Videomic ME-L will be available next month. It is priced the same as the already available Videomic ME ($79). Here’s another video with some real life (still a commercial, though) audio recordings: Link: rode.com Let’s just hope that Apple won’t drop the Lightning connector anytime soon in favour of a USB-C connector. Or should we wait for that and an upgraded version of the Videomic, maybe a ME-C? Furthermore, I’m not sure if this will work well if the iPhone is attached to a gimbal. Let’s wait and see once this device hits the market. Can you see a benefit in recording video and audio on mobile phones? Share your thoughts in the comments below!

Timecode Systems have teamed up with VideoToolShed to create LTC Convert; software that simplifies multi-camera AUX timecode synchronization. DSLR’s and mirrorless cameras are prevalent in any type of video production, AV setup and even broadcasting. However, due to their nature of being “not true video cameras”, getting them all in sync has remained a problem, especially without timecode, clean audio or a clapper board. Timecode Systems UltraSync ONE has simplified that workflow by integrating AUX timecode into audio tracks. VideoToolShed have collaborated with Timecode Systems and created the LTC Convert software to streamline the video and audio synchronization process, as well as re-wrapping sequences in edit-friendly formats. The company Tentacle Sync, who we have reported about before, is tackling the same problem with their tiny timecode boxes and software solution, just like Ambient is with their Lockit devices. Generating Embedded Timecode With UltraSync One The UltraSync ONE can keep multiple devices synced to timecode. Step one of getting the multiple video and audio sources in sync is with the Timecode Systems UltraSync ONE, which generates an AUX timecode that is embedded into an audio track in the file. Multiple devices can be connected over long range RF, all running the same timecode that can be synced in post production later. The challenge then comes when all of the media is collated; how to accurately sync all of the devices with timecode (rather than other applications that are based on audio waveform). The collaboration between VideoToolShed and Timecode Systems has lead to the LTC Convert software being created, which simplifies the synchronization workflow by looking at the embedded timecode, rather than analyzing the audio tracks which can be very time consuming.   Extracting Timecode and Preparing the Multi-camera Edit VideoToolShed LTC Convert AUX Timecode Software The AUX timecode is embedded in the audio track of the file (by the UltraSync ONE) and needs to be converted to an edit-friendly form to be used in editing software. The LTC Convert software decodes the embedded AUX timecode and makes it into a usable timecode for the multi-camera edit, just like with broadcast cameras. LTC Convert is a standalone application and not an NLE plug-in, for Windows and Mac. It prepares the video files for the multi-camera edit and then re-wraps the files to MXF or QuickTime, or transcode to ProRes including external audio (the house audio from your multi-camera production recording). The LTC Convert software can also be used to sync multiple cameras too, creating an end-to-end workflow from the UltraSync ONE through to post-production. Considering the complexities of using DSLR, mirrorless or even some video cameras on multi-camera productions, this collaborative workflow between Timecode Systems and VideoToolShed is a big step forward. It can take the pain and time consuming task of syncing footage in post away. Considering the relatively low cost of the LTC Convert software (€135.00) and ease of use in terms of workflow (especially compared to other timecode generator and syncing systems), this workflow may be what you’ve been looking for. For more information on the UltraSync ONE, head over to Timecode Systems, and to check out LTC Convert head over to VideoToolShed. Are you looking for a simplified synchronization workflow for your multi-camera productions and can see your self using the UltraSync ONE and LTC Convert? Let us know in the comments.