In this final part of our conversation with sound designer Cheryl Ottenritter, we discuss how to take your next steps as a freelancer. The freelancer’s life can be tough, as the uncertainty of going from job to job can soon become a bit of a hamster wheel. However, as you gain experience and start collecting a number of regular clients, maintaining a healthy and long-lasting relationship with them soon becomes more important that landing particular individual jobs. We touch on the importance of having a network of trusted friends and colleagues who you can send in your stead when you are sick or double-booked. It often happens that freelancers covet their work, and are afraid to allow other people in. However, by recruiting the help of collaborative partners, not only are you expanding your potential amount of work, you are also making sure your client base is being properly looked after. Of course, this maintaining of relationships may in some cases mean making small sacrifices – such as discounts under certain circumstances – for the sake of cultivating the path to more work in the future. As Cheryl says, it is important to set the ground rules early on to guarantee a happy client relationship. Cheryl also tells us about her future plans for her audio post shop Ott House Audio, and how she plans on doing more work with 360 audio and Dolby Atmos. It has been a fascinating talk with Cheryl Ottenritter, and we hope to see her again very soon on cinema5D ON THE GO! Please visit our sponsors’ websites to keep new episodes of ON THE GO coming! TILTA Blackmagic Design Manfrotto Olympus Watch previous episodes of ON THE GO (& On the Couch) by clicking here. Visit our Vimeo and YouTube playlists, and subscribe to the podcast on iTunes!

Providing compactness for on-camera microphones, the Azden SGM-250CX is designed around small DSLR and mirrorless cameras for run and gun shooting. Capturing high-quality on-camera sound when filming run-and-gun style as a single shooter can be a challenge. Azden aim to combat this with the SGM-250CX microphone, designed for on-camera use from DSLR and mirrorless cameras up to small production cameras. With size and performance in mind, the microphone barrel has been kept considerably short for an XLR shogun microphone, with a length of 153mm. It is powered via +48V phantom power and not from an internal battery, so it is recommended to use it with an on-camera audio device such as the Sony XLR-K2M or Panasonic DMW-XLR1E. The SGM-250CX connects via XLR, which is much more ideal for integrating into a professional sound solution than a mini jack. It also means the microphone can be used on video cameras with XLR inputs. Azden SGM-250CX – Tech Specs: Super-cardioid polar pattern 20Hz to 20KHz frequency response -33dB at 1KHz sensitivity +48V phantom power XLR connector The Azden SGM-250CX is available now, and at a reasonable price of $199.00 it certainly is an affordable solution for on-camera sound. Are you looking for a high quality on-camera and XLR microphone for your filming? Let us know in the comments.

Sennheiser pursues high-quality smartphone sound capture with the FOCUSMIC Digital microphone. The Sennheiser FOCUSMIC Digital is an on-smartphone microphone designed for video journalism and vlogging with iPhones. The microphone is directional and can be quickly orientated for a variety of filming scenarios with your front-facing or rear camera. The FOCUSMIC Digital attaches to a smartphone via a body clamp, which is fitted with a 1/4 inch screw for attaching it to any kind of mounting device, such as a tripod or gorilla pod for example. In terms of connectivity, due to the popularity of Apple iPhones in media and broadcasting only the Lightning connector is supported at this time. Although this connector is capable of powering the microphone, there is no supported function for audio monitoring once the port on the iPhone is taken by the FOCUSMIC, so Sennheiser recommends testing the audio levels beforehand to achieve the correct levels. If you’re using an older iPhone model, the headphone jack will provide a monitoring signal. Sennheiser also recommends using the free Apogee Maestro and Metarecorder apps for adding a range of filters and recording the audio due to its A/D converter and mic pre-amp technology. Sennheiser FOCUSMIC Digital – Tech Specs Permanently polarized condenser microphone Super-cardioid polar pattern Apple Lightning connector Apogee filters include rumble, hiss reducer and overload protection The FOCUSMIC Digital is expected to be available in the Spring of 2018, with an estimated retail price of around €250.00. Will you be using the Sennheiser FOCUSMIC Digital as part of your smartphone filmmaking kit? Let us know in the comments!

In this part of our conversation with Cheryl Ottenritter, we talk about the audio side of the recent explosion in 360 and VR content creation. 360 and VR video have really become buzzwords in recent years. A wide variety of image capturing devices and a multitude of available platforms have resulted in a very fertile environment for immersive content creators to experiment in productions of all types and sizes. This is a revolution that has not only affected the way we shoot video, but also how we capture audio. Cheryl explains the difference between VR and 360 formats, and the  different methods and tools used to approach each type. However, this kind of content creation is just in its infancy. The rules, standards and uses are not defined yet and, as Cheryl puts it, “its a bit of a wild west out there”. We also talk about audio working on the go, and how the available technology has made it possible for creatives such as editors or indeed mixing engineers to work on the road from a laptop – to the point where being away from the studio or editing suite is no longer an excuse for clients! This ease of access to powerful technology also brings up the conversation about a saturated market of professionals, and how at a certain point its not about the skills involved in using a certain tool, but more about the person’s own talent. On the other hand, this democratisation causes the infamous “race to the bottom”, where new professionals offer their services at often far too competitive rates, bringing down the standards of the industry as a whole. We also touch on the issue of the proportion of men to women working in our industry. Cheryl gives us her opinion about the causes, and what she does to try and even the playing field. Whatever your situation may be, chances are that you are having a hard time getting into the industry. So what about working for free? As somebody who it took three years to get her first paid gig, Cheryl Ottenritter gives us her thoughts on unpaid internships, and why she’s against them. Stay tuned for the last part of our conversation with Cheryl Ottenritter, where we discuss tips for working as a freelancer! Please visit our sponsors’ websites to keep new episodes of ON THE GO coming! TILTA Blackmagic Design Manfrotto Olympus Watch previous episodes of ON THE GO (& On the Couch) by clicking here. Visit our Vimeo and YouTube playlists, and subscribe to the podcast on iTunes!

In this episode of cinema5D ON THE GO we talk to sound designer & re-recording mixer Cheryl Ottenritter about all things audio! Ah, audio… Although many would think that good filmmaking is primarily down to the images, the truth is that this is in fact an audiovisual medium – and note that the “audio” comes before the “visual”. You are a lot more likely to forgive footage that’s a little shaky or a little noisy and chalk it up to style. Dodgy audio, though? That’s bound to sitck out like a sore thumb. For this reason, every shooter needs at least a basic understanding of audio, especially those of you multitasking in small or one-person productions. But what about post? While many out there are capable of adequately placing a lav, booming a shotgun or even decent gain staging, it is when sitting down after the edit is picture-locked that a multi-tasker’s sound skills are often exhausted. This is when you want to get your film over to someone like Cheryl. Cheryl Ottenritter is a sound engineer and re-recording mixer with over 20 years of experience in the industry. She runs Ott Haus Audio, a sound post studio in Silver Spring, Maryland, where her day-to-day work includes anything from mixing indie films, scripted television, radio spots or sound work for museums. We caught up with her at NAB 2017, where she was giving a number of talks and panels on topics such as audio for editing in Premiere, 360 VR audio, and narration. She also tells us about the latest groundbreaking tools and techniques that have revolutionised the audio work in recent times, such as the latest version of the noise–reduction software Isotope RX. While you may be familiar with the capabilities of the latest and greatest cameras, gimbals and NLEs, hearing about the most recent advancements in the audio world certainly is food for thought! Stay tuned for the next part of our convertible ride with Cheryl, where she tells us about how the advent of 360 video and VR has impacted her work in audio. Please visit our sponsors’ websites to keep new episodes of ON THE GO coming! TILTA Blackmagic Design Manfrotto Olympus Watch previous episodes of ON THE GO (& On the Couch) by clicking here. Visit our Vimeo and YouTube playlists, and subscribe to the podcast on iTunes!

In this episode of cinema5D Essentials, Li-Lian and Johnnie discuss how to monitor audio if you have a camera with no headphone jack. Bear in mind that you still need a microphone input in order to be able to use this tip.  Saramonic SmartRig+ What can you learn in this episode? Some of the recent small, video-capable mirrorless cameras like the Sony a6500/a6300 and the FUJIFILM X-T20 are equipped with a microphone input but lack a headphone output. This is a major concern when needing to monitor audio during shooting interviews, or when wanting to control audio in general. One of our solutions is to use the modestly-priced Saramonic SmartRig+ 2-Channel XLR Microphone Audio Mixer. In this episode we take a closer look at this device. Saramonic Smart Rig+ Pros: 2 professional XLR inputs Separate gain control knobs for each audio channel Can be used with a smartphone or a DSLR/Mirrorless camera It provides a standard 48V phantom power Better pre-amps then most DSLRs Offers a headphone jack to monitor audio Saramonic Smart Rig+ Cons: No headphone volume adjustment, which can get quiet at times No battery level indicator You monitor the sound that comes into the Saramonic, which is not necessarily what makes the camera is recording. Love this new episode and looking for previous ones? Look no further. Click here to see all our previous episodes. Music was kindly provided by Art List. What solution do you use when monitoring sound with your camera?  Do you have any special tricks to help combat the absence of a monitor jack ? Let us know in the comments section below.

My name is Ming Lai, and I’m a filmmaker and photographer based in Los Angeles, California. I work on a wide range of projects, from feature documentaries and short films, to commercials and corporate videos, to fine art and documentary photography. My latest project is Visions of Warriors, a feature documentary about four U.S. military veterans who participate in the groundbreaking Veteran Photo Recovery Project and use innovative photography therapy to treat their mental illness. This project combines all of my passions: documentaries, art, photography and social issues. Name: Ming Lai. Currently based in: Los Angeles, California. Language(s) spoken: English, Chinese/Cantonese (native speaker), Japanese (beginner level). Occupation: I’m a filmmaker and photographer. How did you get started in our industry? I’ve always loved film since I was a kid. However, my journey to become a filmmaker has been a long and winding one. I explored other careers like medicine and law, and worked in advertising before I started in the film industry. All of these turns have helped shape me as a filmmaker. I received a B.A. in English at the University of California, Los Angeles (UCLA) and then an M.A. in English at the California State University, Long Beach, doing my master’s thesis on Akira Kurosawa’s use of Japanese Noh drama in Throne of Blood, his film adaptation of Macbeth. I decided to go into advertising because it combined my diverse interests in literature, art, design, photography and film. I studied advertising at UCLA Extension, The Bookshop, and Art Center at Night. Then I started my career as an advertising copywriter. Through advertising, I learned how to make commercials on the job. After 9/11 and my sister’s passing, I decided to concentrate on my first love of filmmaking. While I was working in advertising, I studied filmmaking at UCLA Extension and directing at Judith Weston Studio for Actors and Directors. Then I started making short films. I also became passionate about photography, inspired by my father who was a professional photographer back in China. During one freelance copywriting assignment for a commercial, I was able to convince the ad agency to let me produce and direct it. From there, I continued working as a producer/writer/director, creating commercials and corporate videos for international clients, including Coldwell Banker, Epson, Fujitsu, Marukome, and Yakult. Later, I started to make feature documentaries. I produced, wrote, and directed Art Recession, a feature documentary about the importance of art education. The film was inspired by my sister Mini Lai, who was an artist and alumna of Art Center College of Design (ACCD), the California Community Foundation/Mini Lai Scholarship Fund, which benefits ACCD illustration students, and The Mini Show, a group art exhibition showcasing ACCD illustration alumni that raises money for the fund. Art Recession premiered at the prestigious Newport Beach Film Festival, won “Best Feature Documentary” at the International Family Festival, and is being digitally released by industry-leading FilmBuff. Current Assignments: My latest project is Visions of Warriors, a feature documentary about four U.S. military veterans from the Vietnam War era to the Iraq War who participate in the groundbreaking Veteran Photo Recovery Project at the VA Menlo Park, California and use innovative photography therapy to treat their mental illness. I was inspired to make this film after learning about Susan Quaglietti – a nurse practitioner who’s been taking care of veterans for more than 25 years – and how she created the program, combining her dedication to veterans, her nursing practice, her mental health training, and her love of art and photography. Visions of Warriors received a generous grant from the Stanford Medicine & the Muse Program, premiered at the prestigious Vail Film Festival, and has been nominated for a SAMHSA 2017 Voice Award. My team and I are finding that in addition to the general audience, the veteran, mental health, and academic communities are responding well to our film, seeing it as a tool to help veterans. The film has been screening at conferences, universities, and special events as well as film festivals. Our film wouldn’t have been possible without all the extraordinary veterans and mental health providers in the film, our talented crew and post-production team, and our generous grantors, sponsors, donors, and supporters. Hopefully, our film raises awareness about the rise of veteran mental illness and the power of photography therapy to treat it. We’ll be releasing Visions of Warriors on Veterans Day (11/11/17) to honor veterans. We’ll be self-distributing the film digitally through Amazon Video on Demand, Apple iTunes, Google Play, and more online retailers as well as on our site. Visions of Warriors – Trevor Crist, Director Of Photography What types of productions do you normally shoot? I produce, write, and direct narrative and documentary films. Usually, they explore the human condition, addressing subjects like war, illegal immigration, art education and mental illness. I also produce, write and direct commercials and corporate videos. In addition, I’ve been working on a film noir short film series called the Gumshoe Files starting with Gumshoe & Stiletto. The series is produced by Brian Sheesley, Matt Steinauer and myself, directed by Matt Steinauer, and shot by Dilip Isaac. “Gumshoe” was an Official Selection of the Telluride Film Festival and Raindance Film Festival. Gumshoe & Stiletto was selected by the Seattle International Film Festival and L.A. ShortsFest and was recently a Finalist in the Cine Gear Expo Film Competition. What is your dream assignment / job in our industry, and what are you really passionate about? I dream of directing my first feature narrative, as narrative films are what inspired me to become a director. I love how they can transport you to a different time and place. However, the best ones offer insight into the human condition. I’m currently developing a feature narrative for me to direct. I’m passionate about documentaries. I love how they have the power to raise awareness about important social issues and even inspire positive change. I’m currently prepping for my next feature documentary. In the work that you are presenting to us, now that it is done, what would you have done differently throughout the production? We shot Visions of Warriors over the course of a year and a half, making five trips from Los Angeles where my team and I are based, to Menlo Park, California, where the Veteran Photo Recovery Project is located. I would’ve loved to follow the veterans and their mental health providers for a much longer period of time, embedding into their lives. It would’ve provided us with even deeper insight. However, the schedules of all of our subjects were very tight, and it was cost prohibitive to do so, so we tightly planned each of our trips to maximize our shooting. For the RED cameras that we were using, we had three standard speed 128GB REDMAGs. Because we shot in REDCODE RAW with a compression ratio of 8:1, we had a max recording time of around 46 minutes, which can be limiting for long documentary interviews. Several times we had to stop an interview to change REDMAGs. However, we used this to our advantage to give the veterans a break from the intense subject matter. Because we had a small crew of only a director of photography, location sound mixer, production coordinator, and myself, we didn’t have a dedicated digital imaging tech to download, verify, backup, and manage the data. Sometimes, we would get backed up downloading the REDMAGs to our G-Technology G-RAID drives. I would’ve loved to have more REDMAGs to keep shooting with minimal interruption. Because of the high cost of RED cameras, we brought only one with us for each shoot. During one of our last trips, the RED Epic Dragon started to have issues, causing it to automatically shut down. At one point, we ended up shooting with both the RED Epic Dragon and my Canon 5D Mark III as a backup. The 5D Mark III held its own, but it would’ve been great to have had a true back camera to the Dragon or at least a 4K camera to better match it. When we returned home and sent the camera to RED for repair they discovered that the logic board had problems. Ultimately, they replaced the entire camera. Needless to say, Red’s technical support is exceptional. On location – Visions of Warriors What current camera, lenses, and sound equipment do you use? Typically, my directors of photography, location sound mixers, and I choose our camera, lenses, and sound equipment based on the project. On Visions of Warriors I worked with Dilip Isaac and Trevor Crist, two very talented DPs who have extensive experience from documentaries to narratives to commercials. Because we have experience with RED cameras and have been using them since the RED One, and we had access to them through my co-producer Matt Steinauer’s company, Infinite Siege, we used a RED Epic Mysterium-X (5K) and later a RED Epic Dragon (6K), both with Canon L-series lenses: a Canon EF 24-70mm f/2.8 II USM lens and a Canon EF 70-200mm f/2.8 II USM lens. We also had a GoPro Hero 3+ Black Edition for action footage and my own Canon 5D Mark III with a Canon 50mm f/1.4 lens for behind-the-scenes video and photos. I loved the small size, high resolution, rich color science, wide dynamic range, and sensitive low-light capabilities of the RED cameras as well as the sharp, contrasty, and rich look of the Canon lenses. For sound on Visions of Warriors I worked with two main location sound mixers, Stacy Hruby and Micah Mucklow, who are highly experienced in documentaries. Stacy used Lectrosonics wireless lav mics, a Sennheiser MKH 416 short shotgun microphone, a K-Tek boompole and a Sound Devices 522 mixer/recorder. Micah was equipped with Sennheiser EW 100 G3 wireless lav mics, a Rode NTG2 shotgun microphone, a K-Tek boompole, a Sound Devices 302 mixer and a Zoom H4n recorder. I also brought my own Sennheiser EW 100 G3 wireless lav mics, a Sennheiser ME66/K6 super-cardioid microphone and a JuicedLink Riggy Micro RM-333 pre-amp. Because of Stacy and Micah’s great work, we were able to smoothly hand off to our accomplished audio post-production team: composer Sven Faulconer, sound supervisor Jeff Hutchins of Jeff Hutchins Sound Design and Channel Islands Foley, dialogue editor/music editor/sound effects editor/re-recording mixer Bruce Greenspan of Surfrider Sound Company, sound effects editor Roy Braverman of Bravermania, foley artist Danny Tchibinda, and Monkeyland Audio. What is your favorite light equipment and why did you choose that kit over other solutions? Like our camera and lenses, my DPs and I choose our lighting equipment based on the project. Dilip and Trevor have a strong background in grip and lighting. In fact, Dilip owns a successful grip and lighting rental company, Blue Images Films. On Visions of Warriors Dilip, Trevor and I wanted to create a natural but cinematic look. Because the veterans use photography therapy to treat their mental illness, the cinematography was inspired by iconic photo essays in Life Magazine and National Geographic that intimately capture people’s lives. We wanted the film to look cinematic but in a photographic way. The film is thus very still with precise frames and little camera movement to emulate still photography. There are many symmetrical shots with lots of negative space to depict the loneliness or alienation of the veterans. Conversely, there are also a lot of close-ups of them to allow the viewer enter their minds as well as many voyeuristic shots to peek into their private world. Sometimes, “Dutch” or tilted angles are used to show the disorientation of the veterans. We used natural light and shadows to further design these shots, illuminating or hiding the veterans and expressing their thoughts and feelings. For interviews, Dilip and Trevor used a K 5600 lighting kit with two Joker-Bug 200W lights and Chimera Light Banks. Dilip says, “It’s a great small, portable, and reliable daylight source. We mostly used natural light and used the Jokers and Chimeras to help wrap the key light. With the RED camera, the main concept was just controlling the source so we added a 40-degree grid to shape the light and keep our contrast.” For exterior shots, Dilip and Trevor planned them according to the position of the sun. They either backlit or 3/4 backlit the shot, filling in with a bounce card or muslin fabric. Visions of Warriors – Dilip Isaac, Director of Photography Do you use drones or gimbals in your productions? If so, what is the most effective way you’ve found to deploy them? Unfortunately, I haven’t used any drones in my productions, but I plan to use them in the future, especially as they’re becoming less expensive and easier to use. For my next feature documentary that I’m prepping, I’m planning to use a gimbal to follow our subjects and create smooth camera movement. Specifically, I’m researching smaller, lightweight gimbals that can be used with one hand to be less obtrusive to our subjects. I also want to be able to pull the camera and attached gimbal out of a bag to immediately start shooting in run-and-gun situations. What editing systems do you use? On Visions of Warriors I used Final Cut Pro X on a Mac Pro (late 2013) with a 3.5 GHz 6-core Intel Xeon E5 processor. I usually work with an editor on all of my projects. On Visions of Warriors my co-producer Matt Steinauer and a professional editor were originally going to edit the film. However, he became ill and wasn’t able to work on it. Because it was too costly to hire another editor and we had a tight post-production schedule, I decided to edit the film myself. Because I had used earlier versions of Final Cut Pro and Matt used both Final Cut Pro 7 and X, I decided to edit the film on Final Cut Pro X. It was a huge challenge learning how to use the program and edit a feature documentary. It was like learning how to run while running a marathon. However, the program was very intuitive to use. Editing in addition to producing, writing, and directing the documentary was very empowering, allowing me to constantly experiment and fully convey my own vision. How much of your work do you shoot in Log and what is your preferred way of colour correcting? Because my DPs and I often shoot with RED cameras, we usually shoot in REDCODE RAW. I love the flexibility that shooting in RAW gives us. Because the image is not “baked in” I can easily change the color temperature, exposure, saturation, and more without altering the original image. On Visions of Warriors Dilip and Trevor shot in REDCODE RAW. In addition to editing the film, I also color graded it, which was also a steep learning curve. I tested DaVinci Resolve and Final Cut Pro X’s Color Board, but I ultimately chose Color Finale to color grade the film. I liked how this plug-in allowed me to color grade the film within Final Cut Pro X, making the color grading process faster and more seamless. It was also more intuitive to use than Final Cut Pro X’s Color Board. Dilip, Trevor, and I wanted to create a natural but cinematic look to tell this non-fiction – but very dark and dramatic – story. Color Finale allowed me to easily achieve it with rich colors, strong contrast, controlled highlights, and deep blacks. We also created many black-and-white motion portraits of the veterans where they gaze into the camera for extended moments. These portraits invite the viewer to look deeply at the veterans, get to know them intimately, and try to understand their challenging lives, which tend to get stereotyped or ignored by the public. With Color Finale, I was able to easily color grade them, desaturating the images, adding contrast, crushing the blacks, and giving them the richness of powerful black-and-white still portraits. On location – Visions of Warriors How frequently do you travel, and do you have any tips when it comes to packing your gear? For my commercial and corporate video projects, I typically don’t travel and just shoot them here in Los Angeles, where we have a lot of filmmaking resources, so packing our gear is less of a consideration. However, on Visions of Warriors we made multiple trips from Los Angeles to Menlo Park, California. We used a spacious sport utility vehicle, so packing and hauling our gear was a little easier. We used a CineBag Production Bag to hold a fully assembled RED camera and its accessories. It allowed us to keep the camera built and immediately start shooting. We used a separate Tamrac shoulder bag to hold the additional Canon lens and assorted filters. Generally, I like a minimalist approach to filmmaking gear, especially with documentaries. I want my kit to be small, light and powerful. I’ve always been inspired by solo shooters who have minimal gear and yet produce incredible documentaries. I think the same thinking can be applied to all types of filmmaking. Less is indeed more. Visions of Warriors creator – Ming Lai You can follow Ming Lai and his latest creative work here and also find out more about Visions of Warriors by clicking here

The new RØDE VideoMic Pro+ is now available and it boasts many new features. It automatically powers on and off and gives filmmakers extended control over recorded sound. New RØDE VideoMic Pro+ RØDE Microphones is a Sydney, Australia-based company especially popular especially among DSLR and mirrorless filmmakers for their VideoMic series of on-camera microphones. Their newest addition to the line, the VideoMic Pro+, has now become available for pre-order. The product was announced in January during RØDEshow 2017 which celebrated the 50 years of Freedman Electronics, which RØDE is a part of. The new VideoMic Pro+ improves on the existing VideoMic Pro capsule/line tube and windshield. It has the same Rycote Lyre suspension system but it also boasts many new features. Detail of the new RØDE VideoMic Pro+ New features of the RØDE VideoMic Pro+ Automatic Power Function (with plug-in power availability) – great feature for run-and-gun shooters. Automatically turns the microphone on when the connected camera turns on and automatically turns off when unplugged from the camera. Built-in Battery Door – makes replacing the battery quite easy. Power Options – the VideoMic Pro+ can be powered by the new RØDE LB-1 Lithium-Ion Rechargeable Battery (included with the microphone), 2 x AA Batteries or continuously via Micro USB. Digital Switching – will ensure the user has full control over capture of the audio signal at the source, reducing post-production and editing times. The Digital Switching includes: 2-Stage High Pass Filter – reduce low frequencies such as rumble from traffic or air conditioning. 3-Stage Gain Control, with +20dB function – designed to improve audio quality on DSLR or mirrorless cameras. High Frequency Boost – will boost high frequencies enhancing detail and clarity in the recording. Safety Channel – helps ensure the signal does not clip when unexpected spikes occur. All new features are nicely explained in the video directly from RØDE: Key specs of the RØDE VideoMic Pro+ Acoustic Principle: Line Gradient Active Electronics: JFET impedance converter Capsule: 0.55″ Frequency Range: 20Hz – 20kHz (selected HPF @75Hz/150Hz) Output Impedance: 200Ω Maximum SPL: 133dBSPL Maximum Output Level: 7.7dBu (@ 1kHz, 1% THD into 1KΩ load) Sensitivity: -33.6dB re 1 Volt/Pascal (21.20mV @ 94 dB SPL) +/- 2 dB @ 1kHz Equivalent Noise Level (A-weighted): 14dBA Weight: 122g Dimensions: 111mmH x 66mmW x 170mmD Output: 3.5mm Jack The VideoMic Pro+ is available now for pre-order and it will ship with the LB-1 Lithium-Ion Rechargeable Battery, 3.5mm TRS Cable and Micro USB Cable. It is also possible to register the product and get RØDE’s 10-year extended warranty. There is more information and specifications directly on the RØDE website. Seems like RØDE really listened to their customers and perfected their best-selling microphone. I especially like the automatic power function as it has already happened to me a few times that I had to re-shoot a clip because I forgot to turn on the microphone – and if a microphone is plugged into the mini jack of a camera without being turned on, the camera also doesn’t record internal audio, which is a huge problem. This makes it much more convenient. What do you think of the new VideoMic Pro+? Are the new features enough to upgrade?