Sony has announced a new UWP-D wireless microphone series. This series is not new – as the UWP-D line of products already exists – but more of an upgrade for Sony PXW-Z280 and PXW-Z190 users. Sony UWP-D with Multi-Interface Shoe The Sony UWP-D line of wireless microphones is designed to be as straightforward as possible. The UWP-D series uses RF transmission. If you hold the NFC Sync button on the receiver, it will automatically scan for the best possible frequency to avoid interferences. Once the receiver detects the best frequency, you simply put the transmitter on top of the receiver. The transmitter will automatically “follow” the receiver and switch its channel. If you are a solo filmmaker or someone that wants things to work and don’t want to struggle with audio frequencies, the Sony UWP-D could be perfect for you. The new Sony UWP-D series of wireless microphones now features a 20% smaller bodypack transmitter, and the length of the receiver is shorter. The shrink in size of the receiver is because this new series of microphones are now compatible with the Multi-Interface Shoe ( MI Shoe ). Indeed, this shoe communication eliminates the need for a cable between the receiver and the camera. The 24-bit audio signal is directly recorded by the camera through the MI Shoe, bypassing the analog/digital conversions. Sony PXW-Z280 and PXW-Z190 users can display the microphone information (RF levels, audio mute, battery status) directly in the camera. If your camera doesn’t feature an MI Shoe, Sony also released an MI Shoe adaptor, but the mic information will not transmit. Of course, the receiver also features a standard 3.5mm jack output. Pricing and Availability The series consists of three kits and the MI Shoe: UWP-D21: includes a bodypack transmitter (UTX-B40) and receiver (URX-P40). UWP-D22: includes a handheld microphone (UTX-M40) and receiver (URX-P40). UWP-D26: includes a bodypack transmitter (UTX-B40), a plug-on transmitter (UTX-P40, 48V phantom power compatible), and receiver (URX-P40). SMAD-P5: Multi-Interface (MI) shoe for cable-free camera connection. Currently, we have no information from Sony about pricing nor availability. What do you think of this new UWP-D series of microphones? Do you consider upgrading to the MI Shoe system? Let us know in the comments down below!

K-Tek presented their KSBP1 Stingray backpack and KSUHP1 Stingray utility hip pack during NAB 2019. We talked with Brenda Klemme from K-Tek and asked about the features of those two products. Both K-Tek Stingray backpack and hip pack are available now. For sound recordists and many filmmakers, K-Tek is a well-known company. They offer a variety of audio gear from boom poles, mounts, clips, windscreens to cables and so on. K-Tek announced two new products – Stingray backpack and utility hip pack already at the end of last year. During this year’s NAB, the company showcased these two products. What are their key features? K-Tek KSBP1 Stingray Backpack The K-Tek Stingray backpack is designed to make traveling to recording locations easy and convenient. It features multiple storage pockets, a hidden laptop compartment, and a built-in stealth rain cover. The backpack is fully adjustable and customizable featuring many MOLLE attachment points for additional gear. A strong and lightweight internal frame structure makes the versatile Backpack durable, substantial and protective. K-Tek Stingray Backpack. Source: K-Tek Perhaps one of the best features of the bag is the docking area in the middle. Prepacked mixer/recorder bag simply slides into the docking area and it is secured for transport. It can accommodate Stingray Small, Medium, Large and similar sized mixer/recorder bags. The backpack does not include the mixer/recorder bag – it needs to be purchased separately. The two lower storage pockets are large enough to each store one small K-Tek Gizmo Bag while leaving extra space for a battery or a fuzzy windscreen. There are various accessories that can be attached to the backpack (sold separately) and enhance its functionality. For example, the boom cup holder or the tension straps. K-Tek KSUHP1 Stingray Utility Hip Pack The K-Tek Stingray hip pack features wide waistbelt and removable thigh-strap to ensure it stays in place like a thigh holster. It can, however, also be worn like a traditional fanny pack or even across the shoulder. K-Tek Stingray Hip Pack. Source: K-Tek There are two large main compartments that feature various storage pouches for many accessories. A dedicated organizer offers quick access to pens, medium scissors, and screwdrivers. The hip pack is large enough to fit a Sound Devices MixPre-3 or MixPre-6 plus various accessories for ultra-stealth recording. Although the hip pack was mainly designed for sound utilities and boom operators, other on-set departments like lighting, grip, or camera might find it very useful thanks to its convenience and small size. Price and Availability Both products are already available for ordering – links to our partner shops can be found below the article. Price for the backpack is $475 US and for the utility hip pack it is $130 US. According to K-Tek, the Stingray backpack is a limited edition product – sold only while supplies last. What do you think of Stingray backpack and utility hip pack? Do you have any experience with those products already? Let us know in the comments section below the article.

Just 6 weeks ago, Blackmagic Design’s CEO Grant Petty introduced a bunch of updates to their lineup including a new generation of the popular URSA Mini Pro camera, called G2 (read: generation 2). As you can tell from its name this is not a completely new camera but an update to the existing URSA Mini Pro, which will be replaced by the URSA Mini Pro G2. Watch our interview with Blackmagic’s Craig Heffernan for all the details. Blackmagic URSA Mini Pro G2 This camera is labeled G2, so what’s new here? Well, sometimes when it’s about updating software features, the hardware needs to be upgraded as well to do justice to these improvements and that’s exactly the case with the URSA Mini Pro G2. In order to enable higher fps recording Blackmagic engineers have deployed an updated 4.6K sensor (a different build of the same sensor, as Craig Heffernan puts it). It comes with advanced processing and a streamlined image pipeline throughout the camera. This enables for higher frame rates and faster sensor read-out (less rolling shutter). Furthermore the camera now supports Blackmagic Color Science 4 and it also can handle 3D LUTs now. All the accessories of the original URSA Mini Pro will fit the G2 model, it simply replaces the original model in that respect. Same goes for pricing, the G2 comes in at exactly the same price as the original URSA Mini Pro. Improved High-Speed Recording The new high frame rates include the following modes, depending on which format you’re recording to: Frame rates in Blackmagic RAW: 120 fps in 4.6K in Blackmagic RAW 150 fps in 4K DCI in Blackmagic RAW (windowed) 150 fps in UHD 4K in Blackmagic RAW (windowed) 300 fps in HD in Blackmagic RAW (windowed) Frame rates in ProRes: 80 fps in 4.6K in ProRes 120 fps in UHD in ProRes (windowed) 240fps in HD in ProRes (windowed) There’s already some sample footage to see for yourself, hop over to our article here. Audio Enhancements Blackmagic also worked on the audio section of the camera. The URSA Mini Pro G2 now offers an enhanced audio processing and hopefully the dreaded (and audible) delay when monitoring the audio through the camera is now a thing of the past. Blackmagic RAW vs ProRes RAW Yes, the URSA Mini Pro can record straight to ProRes. But no, it can’t do ProRes RAW. That’s the way things stand at the moment. Blackmagic are quite happy with their own RAW format since it integrates seamlessly with their cameras and their post production tools, namely DaVinci Resolve 16. So there are no current plans to implement ProRes RAW but of course that could change any minute, who knows what the future holds. If you’re in the market for a new camera, this might be worth a ver close look. The URSA Mini Pro G2 is a significant update to the original camera and establishes a base for further firmware updates in the future. Link: Blackmagic Design What do you think about the URSA Mini Pro G2? Share your thoughts in the comment section below!

Last year at NAB  Zoom has launched the F8n, a professional-grade multitrack field recorder with great build-quality and advanced features like the Look-Ahead Hybrid Limiters, Zoom’s AutoMix, great preamps, timecode in/out and lots more. Now the Zoom F6 field recorder sports the same preamps as the F8n did, with the added benefit of being able to utilise dual A/D converters and record in 32bit, instead of standard 24bit, thus making setting levels and clipping a thing of the past. Information is somewhat limited at this point, but here’s what we were able to find out. The Zoom F6 is not as big in size as you might think. In fact, it’s tiny! The Zoom F6  has six  XLR-inputs and features the same very low noise-floor preamps found in the Zoom F8n (−127 dBu EIN). There is a line-out, a headphone output with a tiny volume wheel and  a timecode in/out (again this is the same as in the F8n. Not continuing the similarities the F6 only has a single SD card slot. Powering the Zoom F6 should be rather easy, given all the options the unit offers: the F6 can either be powered by four AA batteries, USB-C or an L-Series  battery, for which their is a built-in mount on the unit’s backside. The front of the unit  is dominated by six faders, a tiny yet informative LCD and three main buttons to controle recording and playback. The unit can also be connected to Zoom’s Bluetooth adapter and will work with Smartphone app interface as well as Zoom’s F-Control panel. The Zoom F6 will record 6  tracks, as well as a  stereo mix, so 8 channels all in all.So far so good. The Zoom F6 seems like a nice little six-input recorder. Dual A/D converter and 32bit float Now this is where the Zoom F6 really shines. Without going into too much detail, the way the dual A/D converters are set up, it will be nearly impossible to clip the recordings coming off the Zoom F6 – meaning the the preamp just won’t clip. That by itself is a great feature to have. But additionally, this virtually non-clippable sound will then be recorded in 32bit float, instead of the long-time industry standard of 24bit. While 24bit can have  great audio quality there is one inherent problem: louder volumes will be recorded at better quality than lower volumes. In practice this can translate into a situation that many of us have encountered before: You record at a set gain level, and then the person starts whispering. Now you’d have to raise the gain, introducing noise. But with a 32bit recording everything would be recorded at the same quality level, no matter the volume, due to the immense dynamic headroom. On the other end of the spectrum, clipping would be really hard to achieve even you tried it on purpose and even if something clipped on output, you could bring it back down in post, similar to how highlight recovery works with RAW video: the spectrum of data recorded is larger than the available output range, that you can push the signal around more easily. The Zoom F6 is also supposed to be able to record 32bit float to all of its tracks, while also recording 24bit files as backups simultaneously. You can also choose to only record 24bit and use the Advanced Look-Ahead Hybrid Limiters, known from the Zoom F8n. In May we should see some more detail on the Zoom F6 emerge, together with some information on pricing. The unit should be available during the latter parts of  June according to officials from Zoom. Are you excited about 32bit float recording and getting your hands on this ground-breaking new field recorder by Zoom? Let us know what you think in the comments!

Sound Devices, the American company that is known for its high-end portable audio and video recorders, has just announced a new audio recorder: the Sound Devices Scorpio. The Scorpio is their new flagship sound field mixer and recorder that can record up to 32 channel/36 track. Let’s take a look at this beautiful-looking and impressive piece of audio technology. State-of-the-Art Production Sound Back in 2017, the introduction of the MixPre series of portable and “affordable” audio recorders was a big success for Sound Devices. This line of products is perfect for independent filmmakers and small/medium production companies. I bought a MixPre-6 myself,  even as I’m not an audio professional – the build and sound quality is top-notch. Today, with the launch of the Scorpio, Sound Devices is back in its core market: the high-end audio products. Before diving into the specifications of the product, let’s start by saying that it’s not for everyone. The Scorpio’s target is audio professionals and film mixers – or someone with deep pockets. There is nearly no production scenario I can think of that the Scorpio can’t handle with 16 mic/line preamplifiers, 32 channels of Dante in and out, AES in and out, 12 analog outputs and multiple headphone outputs. Sound Devices’ Scorpio front and left panel. Sound Devices Scorpio Features If you ever had the chance to work with a Sound Devices product, you know that the user interface is straightforward, with great attention to detail, made by professionals for professionals. Scorpio’s interface is no different. With one or two button presses, you can reach many functions and features of the device, with one hand only. Also, the Scorpio is a real audio channel mixer. The internal matrix menus allow you to create customizable routing of any input to any channel, bus, or output, and up to 12 buses may be individually mixed. Part of Sound Devices’ reputation exists around the pristine quality of the audio preamps. For this high-end audio recorder, the microphone preamp circuits have been redesigned for an even smoother sound. The company claims that the Scorpio features the lowest signal/noise ratio of any preamp in Sound Devices’ 20-year history. Furthermore, the preamps include analog limiters (so no digital clipping), high-pass filters, delay, 3-band EQ and, of course, phantom power. For recording, the Scorpio has an internal 256GB SSD. For redundancy purposes, you can also record to two SD cards, simultaneously. A remote Android application, SD-Remote, allows for control, timecode display, metadata editing, and display of the transport controls of the Scorpio onto a bigger screen. Finally, you can plug a keyboard via USB into the Scorpio to edit metadata. In terms of powering options, several options are available. The Sound Devices Scorpio can run off two L-Mount batteries. For more “professional” scenarios, you can feed it through the built-in TA4 DC inputs, using smart batteries, NP-1 batteries, or in-line power supplies. Finally, a plethora of accessories is available, including a rechargeable lithium-ion battery, an NP-type battery cup, a smart battery cup, TA5F to XLRF cables, an SL-Riser, and a dual-bay smart charger/calibrator. For more information about the Sound Devices Scorpio, you can look directly at the company’s website. Pricing and Availability The Sound Devices Scorpio is available for pre-order for U$8,955. It will start shipping within the second Quarter of 2019. What do you think of the Sound Devices Scorpio? How many recording tracks do you usually need? Let us know in the comments down below!

We previously announced the RØDE Wireless Go system in early April and we had a chance to give the system a first hand look at NAB 2019. This compact TX/RX wireless audio combo requires only two small boxes to be up and recording audio for 7hrs. Check below for details including pricing and availability.  RØDE Wireless Go The Wireless Go features a 2.4 ghz digital transmission and built-in microphone transmitter in an ultra compact form factor. Rode promises pairing will take place in under 3 seconds and it did happen very quickly during the on-camera demo on the floor show in the less than optimal wireless environment of NAB. While the promised line of sight range of the unit is only 70m, RØDE says the Wireless Go is optimized for shorter range operation in tough RF and crowded WIFI environments. At only 29grams each both the receiver and transmitter are very small, but if you are attempting to hide the transmitter/mic completely this may not be the unit for you. Of course you can connect a lav through a 3.5mm TRS port to the transmitter and hide the lav easily that way as well.  Ryan Burke from RØDE did have an interesting idea of branding the transmitter with your own logo and embracing the fact that it is noticeable. Something to consider. Billed for “content creators on the go” this won’t replace kits with longer range capabilities, but as RØDE notes, it does seem to lend itself to V-loggers, to-camera, or onstage presenters, Youtubers and streamers of all kinds. The standard kit includes 2 x fur windshield, 1 x pouch, 2 x USB-A to USB-C cables and a 1 x SC2 cable. Additional spec breakdown below: For those who don’t have a professional audio background (I’m including myself in this category) this seems like a very fast and painless solution for getting quality wireless audio.  Pricing: $199 for the kit Availability: Soon What do you think about the quality of RØDE wireless microphone systems. Do they work well for you in the field? Please share with us your experience in the comment section below. 

RØDE continues to push the boundaries of audio solutions for real-world filmmakers. Their products are generally very affordable, yet feature-rich and versatile. The new RØDE Wireless Go microphone system is no exception: two tiny boxes, that’s all you need to handle high-quality, single-channel wireless audio on set. The TX (transmitter) unit of the RØDE Wireless Go system measures just 44mm x 45.3mm x 18.5mm in size and is weighing a mere 31g. And, since we’re talking about a real two-piece setup here, an omnidirectional condenser microphone is built right into the unit. No need for an outboard lav mic. That’s handy but you’ll end up with that box attached to your talent’s shirt. So thankfully an additional 3.5mm TRS socket allows for an outboard lav of choice. The RØDE Wireless Go units both feature built-in batteries which will last for about 7 hours of continuous use. Recharge them during lunch break via USB-C and you’re good to go for a very long shooting day. RØDE Wireless Go If you want to go the minimalistic route, the TX unit features a built-in clip for attaching it to a talents shirt or jacket. As mentioned before –although the unit itself is tiny– I find it a bit awkward to attach the whole thing to a talent. It just doesn’t look right (for me at least). Even the RX unit sports the very same clip so you could attach the receiver to your shirt or wherever if you’re shooting with you cage-less phone for example. Another neat trick: the same clip acts as a cold shoe, too! The TRS output socket can be configured to lower the audio signal by -0dB, -6dB or -12dB to match your cameras or recorders input. On the technical side of things, the RØDE Wireless Go operates with RØDEs series III 2.4GHz digital wireless transmission. The audio stream is secured by 128-bit encryption. The company claims that this technology provides you with crystal clear audio under any conditions, even in locations with dense Wi-Fi and Bluetooth activity like shopping malls, conventions, hotels etc. We are looking forward to testing this out because we have had troubles using the RØDElink Wireless Filmmaker Kit in spaces congested with wireless signals before … namely last year’s NAB. The range is specified with 70m (line-of-sight) but the system will of course work more reliable at shorter ranges. Up to 8 systems (TX/RX) can be deployed in a single location without any interference. That’s not nothing but it isn’t that much either. This system might not be the best solution for crowded press conferences. Traditional systems still use analog transmission with different channels and radio bands. These newer generation systems are based on digital transmission and are much easier to handle as they operate worldwide without restrictions but are simply less reliable under certain conditions. And, since the signal needs to be converted from analog to digital (TX) and back to analog again (RX) these systems suffer from a certain amount of latency which renders them problematic (unusable sometimes) when paired with other analog sources. The Competition There are 3 main competitors to this RØDE Wireless Go system, two by Sennheiser and one by RØDE (which makes it a bit of a legacy version). The RØDElink system is pretty bulky in comparison to the new offering by the same company. The RX unit measures 111mm X 65mm X 52mm and it weights 190g. Thats twice the size and seven times the weight! RØDElink wireless system It also uses series II (rather than series III) 2.4GHz digital transmission with 128-bit encryption. Sennheiser offers two different series of digital wireless audio systems: The AVX system and the newer XS series. I personally own a AVX kit with the MKE2 lav mic (which is better than the ME2 version) and I’m very happy with it. It certainly suffers from latency but if you use the AVX for single-channel audio only, it’s fine. As opposed to the RØDElink system it also uses adaptive frequency switching, which means that it works much more reliably in areas with a lot of wireless signals – in fact, it has become our main audio unit used on all our trade show videos, just like our upcoming NAB coverage from Las Vegas! Sennheiser AVX MKE2 system. I like the AVX system for its neat XLR receiver unit and the overall built quality and performance. It’s certainly more expensive than the RØDE Wireless Go though, especially if you choose the MKE2 lav instead of the ME2 version. The third contender would be the new Sennheiser XS wireless system. Sennheiser XSW-D set. This system is pretty versatile as you can choose between two TX units, one with a 3.5mm plug (lav mic) and one with an XLR socket (full-size hand mic). The same goes for the AVX system by the way, Sennheiser has a dedicated AVX hand mic on offer. And last but not least, the RØDElink also offers an XLR TX unit. Conclusion I think it’s safe to say that the RØDE Wireless Go system is inheriting the RØDElink, which may be retiring soon. The Sennheiser offerings are decent, yet more expensive. We still have to wait and see how the RØDE performs in real life (especially audio quality and latency). Regarding the competitive price, this new system might draw a lot of customers towards RØDE if the system performs as advertised. Link: RØDE What do you think? Are you in the market for a new wireless audio system? Share your thoughts in the comments below!

The Roland R-07 is a new ultra-portable audio recorder designed for musicians and filmmakers on the go. This tiny, compact, and lightweight recorder can follow you everywhere. Let’s take a closer look at it. Roland R-07 Miniature Recorder The Roland R-07 is a miniature, ultra-connected audio recorder. It’s only 61 x 26 x 103 mm for a total weight of 150 grams including batteries. The Roland R-07 is smaller than your smartphone for a reason: Roland wants you to bring it with you everywhere without even realizing it’s in your pocket. If you are a musician, the R-07 is an might prove to be an excellent alternative to recording memos on your smartphone. The best camera is the one you always have with you. Is the best recorder the one you always have with you? The Roland R-07 features two omni-directional microphones on top of the unit. If you want to use another mic, for example, a lavalier mic to transform the recorder into an affordable “wireless microphone,” there is a 3.5mm jack input at the bottom of the recorder. Please note that the internal mic and the mic/aux in can’t be used at the same time. The recorder runs on two AA batteries with a claimed battery life of 15 hours. You can also run the R-07 of the micro USB port on the right side of the unit. The recordings are stored on microSD (SDHC compatible) cards. You can record in a wide variety of formats and resolutions; the full list is just below. An Intuitive Recorder The R-07 is a straightforward and intuitive recorder. All controls are on the front panel, under the small monochrome 128 x 64mm screen. You’ll find the record button, the playback controls, the mic input gain, the headphone output level, and the menu/scene/mark/A-B/rehearsal buttons. The scene feature is pretty impressive if you don’t want to mess with settings too much. By selecting a scene, the R-07 can automatically apply the ideal settings: sample rate, record mode, limiter, low cut, and input level instantly adjust to their optimal settings. Of course, you can modify any of the settings if needed and save them for the next time. Roland R-07 inputs and outputs ports Wireless Capabilities Built-In The Roland R-07 is a nomad device with Bluetooth built-in. To make it short, it means you can control, monitor and listen back wirelessly using supported smartphones, smartwatches and Bluetooth speakers. You have to download the R-07 Remote App – available for iOS and Android smartphones – turn on Bluetooth on the recorder, and that’s it. You can remote control the R-07 from your smartphone/supported smartwatches. That way, you can efficiently manage your recordings and check that what’s being recorded is what you want, even when the R-07 is in its best recording location, and out of reach. Also, you can listen to your recordings on wireless headphones or Bluetooth speakers. These features are pretty handy. A dual recording mode is included (One at full level and another at a lower level) as well as a “hybrid limiter”. Both are built-in to make sure you never ruin a take anymore, so  If something goes wrong and clipping happens in the main recording, you can replace that part in the edit with the lower-level backup recording. Hybrid limiting can handle this automatically, but I usually prefer to do it on my own. Finally, for a touch of fun, the recorder is available in your choice of black, red, or white colors. Pricing and Availability The Roland R-07 is already available from B&H and CVP for $195.99. In terms of comparison, the Tascam DR-05X is cheaper at $119, but it’s way bigger and doesn’t feature any wireless control capabilities. Do you think the compact form-factor of the Roland R-07 makes it an excellent tool for filmmakers? Let us know in the comments down below!