The Sennheiser MKE-440 is an on-camera microphone that features dual-stereo capsules for greater sound capture. Sound is as important as the visuals when it comes to video content creation, and for interviews or atmosphere the Sennheiser MKE-440 allows you to capture a much wider stereo field by including two mic capsules in the left and right mic housing. For shooting scenarios like two person interviews, or capturing the ambient sound of a location, the polar pattern and microphone coverage is wide enough to hear much of the surrounding sound, but cancels out sound from behind the microphone (from the camera operator for example). The capsules are shock mounted independently in the metal casing to remove unwanted movement noise, rather than the entire microphone on the camera hot shoe. The 3.5mm TRS jack cable has been relocated to the front of the microphone to avoid it coming across the camera screen or viewfinder while filming. It runs on 2xAAA batteries with an impressive battery life of 100 hours. Specifications of the Sennheiser MKE-440 at a glance: 50Hz to 20KHz frequency response. Stereo supercardioid microphone capsules. Runs on 2xAAA batteries for 100 hours of operation. Low cut filter and 3-level sensitivity switch. The Sennheiser MKE-440 is available to purchase now from CVP from €294.33, and from B&H from $349.95.

Rode show us their new wireless mic transmission kit: the RodeLink Newsshooter. It will be available to purchase later this month. The RodeLink Newsshooter kit gives wireless capabilities to all handheld microphones, transmitting digitally over 2.4GHz back to the RX-CAM receiver. Microphone inputs come in the form of locking XLR or TRS, for use with mics such as the NTG1 and NTG4+, as well as lavalier and headset microphones too. Features also include a headphone output on the transmitter that allows boom operators or reporters to monitor the audio levels while using the device. Both the transmitter and receiver pair almost instantly without having to input a frequency band, which makes using multiple devices very easy. The transmitter can be powered by AA batteries, but also accepts the commonly used NP-F type batteries, which increase its operation life significantly. The RodeLink Newsshooter kit with the receiver will be shipping at the end of the month, both as a transmitter-receiver kit and as a single unit, and available to purchase from CVP from £409.00 and B&H from $499.00. Would the RodeLink Newsshooter kit solve wireless microphone problems for you? Let us know in the comments.

The recently announced Zoom F4 Multitrack Field Recorder bridges the gap between their popular H6 and flagship F8 eight input models.  Read more below.  The Zoom design team has been innovating in interesting directions lately, even adding cameras to their product lineup last year. The Zoom F4 Multitrack Field Recorder is a return to their indie-friendly audio mixer roots, with a compact 8-track/6-input design and portable in a 2.3lbs metal form factor. Its capability to record for over seven and a half hours at 192 kHz in 24-bit stereo on SD/SDHC/SDXC in .WAV with a 32gb card means no card dumping until the end of the shoot day at least. Featuring mic preamps of -127 Bu and the capability of adding up to 75 dB of gain, Zoom promises very low noise with +4 dB line-level inputs. You can record WAV at 44.1, 47.952, 48, 48.048, 88.2, 96, 192kHz, or MP3 at 128, 192, 320 kbps, 44.1/48 kHz. Two SD card slots can dual record, and dumping files is possible from a USB port without removing the cards. Inputs:  Input 1-4: XLR-1/4″ / 6.35 mm combo jacks Input 5-6: 1/8″ / 3.5 mm stereo mini jack Each of the four Neurtik XLR/TRS connections has individual 24/48V phantom power capability. The mini jacks can be used for returning audio to the camera or for sending a feed to video village for monitoring. Outputs:  Main: Balanced XLR (2-pin hot) Sub Output: 1/8″ / 3.5 mm Headphone: 1/4″ / 6.35 mm unbalanced stereo jack Four locking XLR inputs on one side of the Zoom F4 Power options are numerous. Power the F4 from 8 AA batteries, an external DC battery pack, DC-HIROSE or a wall outlet power supply.  An unexpected bonus of the Zoom F4 is timecode. The ability to jam sync TC to such a compact device at a very friendly price point is a major plus. The F4 boasts a very precise Temperature Compensated Crystal Oscillator, or TCXO, that allows for 0.2ppm precision at the following frame rates: 23.976ND, 24ND, 25ND, 29.97ND, 29.97D, 30ND and 30D. Zoom mic capsules can be added to the blue port in the image giving you added XLR or 3.5mm inputs as well as other customization options. Camera operators have been enjoying more and more the freedom of modular camera designs and it’s good to see Zoom continuing to support their modular mic capsule adapters. You can easily add a wide variety of Zoom accessories with these mic capsules and here are just a few: ECM-3 mic capsule extender cable MSH-6 mid-side mic capsule SGH-6 shotgun mic capsule SSH-6 stereo shotgun mic capsule EXH-6 dual XLR/TRS combo input capsule All of the mic capsule adapters can be used on the Zoom H5 and Zoom H6. Zoom promises to bring many of our favorite features of the Zoom F8 to a wider audience of filmmakers with their new F4 MultiTrack Recorder. Features of the Zoom F4 MultiTrack Field Recorder at a glance: Six-input / eight-track field recorder with integrated mixer Timecode (TC) with little potential for drift Six inputs, including four XLR/TRS combo connectors, a stereo 3.5mm input, and Zoom mic-capsule input Weighs slightly over two pounds (without batteries) High-quality mic preamps with up to 75 dB gain, less than -127 dBu EIN, and +4 dB line inputs Support for up to 24-bit/192 kHz recording as well as 96, 88.2, 48, and 44.1 kHz, plus 47.952 and 48.048 kHz for HD video compatibility; 16-/24-bit resolution Two different power supply options: 8x AA batteries or external DC  with 4-pin Hirose connector Dedicated gain control knob with 6 individual LED level meters Phantom power (+48V/+24V) on each preamp On-board limiters for both input and output Compatible with all Zoom mic capsules 1.9” white, backlit monochrome LCD Dual SD/SDHC/SDXC card slots, up to 512GB each WAV or MP3 file formats Availability: B&H is accepting preorders now and for our European audience, head to CVP by clicking here. Price: $649.99  

The Tascam DR-100 MK III is the latest release by one of the industry leaders in field audio recording. It comes as a new update to their flagship DR-100 recording product line, and includes a couple of very nice upgrades that allow for recording of better and longer uninterrupted audio. Long a favorite of DSLR shooters, Tascam recorders are widely known for their portability and being audio capture workhorses out on location. Look into any one-man-band kitbag out there and you’re very likely to find a Tascam recorder of some sort. As opposed to the MK II, the Tascam DR-100 MK III allows for recording onto SDXC (not SDHC!) cards up to 128GB. Given the relative size of audio versus video files, you’ll likely be recording all week on a single card if you choose, although I would recommend offloading after each shoot day. You also see a bump up in file quality with the new 24-Bit/192 kHz option, where it’s predecessor only allowed for 24-Bit/96kHz recording.   A standout feature for me is the dual-battery design featuring a built-in lithium-ion rechargeable, as well as the normal capability to use AA batteries. This is perfect for long interviews or concerts: situations where you will want to swap batteries without halting recording. The Tascam DR-100 MK III is also built around an aluminium frame, giving it some added drop protection in the field. MAIN PRODUCT HIGHLIGHTS:  2 x XLR/TRS Combo Inputs A second dual-record mode captures WAV and MP3 files simultaneously Dual-battery design uses a built-in lithium-ion rechargeable and AA batteries for extended recording times On-Board A/B Stereo Microphone Records up to 24-Bit/192 kHz Records to SDXC Cards up to 128GB Aluminum Chasis Low-noise HDDA microphone preamps Phantom Power The Tascam DR-100 MK III is available now from B&H HERE, or the link below.

Rode has announced a series of new products, all incorporating the already popular Rycote Lyre shock mount system. Perhaps most significant for filmmakers is the new VideoMic Pro Rycote. I’m sure you’ve heard of the phrase “if you can’t beat ’em, join ’em”. Well, that’s exactly what Rode did with the Rycote Lyre shock mount system. Initially released on the VideoMic Go, Rode tested the Rycote merger on a product lower down in the line before sneaking it into a few further products. Now Rode brings us a whole host of new products sporting the fuss-free & effective Lyre mount. Rode VideoMic Pro Rycote The new Rode VideoMic Pro Rycote takes the spherical design of its closest predecessor, but this time with the aforementioned Rycote Lyre Shock Mount, an industry standard design in capsule isolation. Also new is a more durable kevlar cable that helps with interference, as well as upgraded condenser capsules. Here’s some press spaff: “RØDE’s all new…. Rycote® Lyre® suspension system… isolates the Stereo VideoMic Pro capsules and electronics from mechanical vibration and handling noise, preventing unwanted rumble and vibrations in recorded audio. Completing the upgrade is an all-new matched pair of condenser capsules with an improved foam windshield, giving the new Stereo VideoMic Pro even higher sensitivity and lower self-noise…. thicker, Kevlar-reinforced braided cable has been introduced [allowing use] with the RØDELink Wireless System, or Wi-Fi heavy locations without fear of RF interference ruining critical audio takes.” SM3-R, SM4-R, PG2-R and PG2-R Pro Cable Furthermore, Rode is integrating the Rycote Lyre Shock Mount across their line. The SM3-R is a cold shoe mount for mating shotgun mics directly to your camera. The SM4-R is a similar product but with a 3/8″ thread for boom pole mounting, and the PG2-R (with PG2-R Pro Cable) is the pistol grip version for handheld operation. The new Rycote Lyre upgrades across the board open up compatibility to the entire range of short RØDE pencil condenser microphones, or longer RØDE shotgun Microphones.

Tascam was kind enough to send us their new creation, the DR-10SG. It is a combination of a standalone mountable mini audio recorder, as well as a directional shotgun microphone that you can connect to your DSLR mic jack. This new device is aimed towards “on the go shooters” who seek a better audio quality than the one their build-in camera microphone offers.  As we all know, some of the latest cameras from respected manufacturers do not offer a way to monitor sound. Maybe the biggest selling point for this device is the ability to monitor audio levels when connected to cameras without a headphone jack, with the Sony a6300 being a good example. In order to do that, you will need the Tascam DR-10SG and a mini jack 3.5mm splitter. One thing to consider: if you are looking for greater flexibility in regards to connecting professional microphones and wireless audio receiver to your camera or a recorder, then you might want to look at Tascam’s other offering, the DR-10X, a micro audio XLR recorder device that, at least on paper, looks as a perfect flexible mini recorder. Back to the Tascam DR-10SG. Here are its main specifications at a glance:  Recording Media: microSD card (64 MB to 2 GB), microSDHC card (4 GB to 32 GB) Recording Format: 16/24-bit @ 44.1/48 kHz Mic Polarity: Super cardioid Analog Outputs: Camera Out/Phones: 1/8″ (3.5 mm) stereo mini-jack (dual-mono signal) USB micro-B Power: 1 x AAA battery USB bus power Power Consumption: 0.75 W (maximum) Battery Operating Time: (48 kHz/24-bit, Limiter/ Dual Rec: Off, File type: Mono), Lithium 15:00 hours, NiMH Battery 7:30 hours, Alkaline 8:30 hours. Dimensions (W x H x D) 2.1 x 6.6 x 2.8″ (53 x 168 x 70.3 mm) Weight 3.9 oz (110 g) including batteries Pros: The DR-10SG is very lightweight and will sit comfortably on your camera hot shoe. The audio quality is sufficient for a run & gun shooting style and features adjustable EQ. One triple-A battery will last for a good few hours and the device can also be powered externally via a USB connector. You can record dual audio tracks in 2 different recording levels. I suggest not to fiddle with levels while shooting as the buttons are tiny… So what needs improvement? The device feels plasticky. I hope it can survive the daily filming routine. What is really missing out of the box is an additional proper wind shield cover. The one provided is not enough. Normal iPhone earbuds won’t work for monitoring. I guess it is an impedance thing… You can’t start recording while browsing the menu. You need to exit the menu first, and then start recording. Conclusion:  Personally, I wish that the mic polarity would have been even narrower. In addition, although the microphone itself has a nice suspension, it will easily pick up handling noise when operating the camera, so either place your camera on a rig or touch it gently while shooting. Also, don’t expect the Tascam DR-10SG to replace your soundman or dedicated audio system. On the other hand, when running & gunning, this additional device will certainly produce better audio results from your built-in camera microphone. Furthermore, the built-in mini recorder will yield better audio recordings in comparison to the many of the DSLR/mirrorless cameras out there.

The Saramonic UwMic10 UHF system was introduced a few weeks ago, promising a relatively low-cost dual wireless microphone solution ideal for DSLR shooters. Read on for our initial hands-on impressions. The Saramonic UwMic10 (Amazon link) is not the first wireless microphone solution from this brand. In fact, I had come across the company name a while ago when researching what the market had to offer at the budget end of the spectrum. At around the $100 mark, their SR-WM4C didn’t have the best reviews out there, only offered VHF and, in general, looked a bit clunky for my taste. But a couple of months ago, Saramonic released a couple of videos that hinted at a new product: a UHF wireless microphone system based around a dual channel receiver, an ideal solution for DSLR shooters limited to a single 3,5mm mic input on their camera. It also seemed to be priced very affordably at around the $300 mark for the basic kit. Needless to say, when the package arrived in the post a few days ago, I was very curious to see if the final product would deliver. A first look out of the box revealed a set of two transmitters and a receiver, all very solidly built. Their metal enclosures sure seem like they could take a bit of a beating , and their weight is very reassuring. In fact, they’re just on the edge of being a little TOO heavy: at close to 250g each excluding the necessary 2 AA batteries, they weigh around 100g more than the famous Sennheiser G3 counterparts including batteries. They are also slightly larger than the Sennheisser, but not as large as, say, the RodeLink system. One downside I found is that the removable battery tray is made entirely of plastic — and not the sturdiest kind — which doesn’t inspire me with confidence. Not only is it another piece of kit to keep track of, but if this small part breaks, then the entire unit goes down. The Saramonic UwMic10 kit also includes: Belt clips for all units. Cold shoe adapter for the receiver. 3.5mm to 3.5mm curly cable with locking threaded jack. 3.5mm to XLR cable with locking threaded jack. 2x Lavalier mics with locking threaded jacks. Setting up the system is very easy indeed. The TX transmitters can be assigned to Group A or B, each consisting of 96 different frequencies. Scrolling through the RX receiver menu reveals a number of general settings, as well as separate identical settings for Group A and B. One of these settings is Auto Scan, which will search for an available and clear frequency in that group. Once it has found one, scroll down to “Match with TX”. Grab the corresponding transmitter for that group and scroll down to “Match with RX”. Place the two near each other and they will sync via infrared transmission. Do the same for the other transmitter and you’re set. Note that there is also a handheld wireless dynamic microphone, the HU10, which is also part of the UwMic10 wireless system family. Unfortunately, this wasn’t included in the kit. Also, the transmitter is integrated into the microphone, rather than being an independent XLR unit you can use with any mic.  A nice feature is that you can (and should!) turn off an individual frequency group when not in use to save battery. Also, its worth noting that you control audio levels only through the receiver, as opposed to the controls on both transmitter and receiver found on other systems. Levels are displayed as a number scale from 0 to 20, as opposed to a more standardised scale in dB. Using the Saramonic UwMic10 What makes this such a handy unit for DSLR is the output mode option. The default Mono mode mixes both microphone signals on output. Stereo mode, however, routes each signal to the left and right channels independently, making sound editing in post a lot easier. This works great with the included stereo minijack cable, and thus for DSLRs… But the included XLR cable that just sums both signals to mono effectively reduces the usability of the product if you’re using a larger camera with XLR inputs. We used some adapters we had lying around the office to split the signal out of the RX into 2 mono RCA signals, and then using XLR adapters on them to plug into the 2 inputs of the camera. This does work, but is a bit of a long workaround for something that could work right out of the box if only the included XLR cable was a splitter instead of a simple adapter! A quick test out in the street revealed that the Saramonic UwMic10 had a reach of around 70 metres before total dropout, which in my experiment meant a good 7 metres further than the Sennheiser G3. Very nice! Just for the “LOLs”, I also tried the RodeLink system, which cut off at around 55 metres. Noise levels were acceptable throughout, perhaps just a tad noisier than the Sennheiser but providing more than adequate results. I was very pleasantly surprised. It is also worth mentioning that since I wanted to keep the experiment as even as possible, I used the microphone included with the Saramonic with all units. This setup worked fine, but when doing further tests back in the office, I found that I would get no input if I tried other lavs with the Saramonic transmitter. If you have a favourite microphone you want to use with this system, it’s definitely a try-before-you-buy kind of situation. The included microphone is absolutely fine, perhaps not of the same cable quality as the Kevlar ones from the RodeLink, but it certainly doesn’t feel cheap by any stretch. Conclusion All in all, I was very pleasantly surprised with the Saramonic UwMic10 system. It does have some downsides — such as the slightly flimsy and plasticky battery tray, the lack of a solution that works out of the box if you want to use two XLR channels, and strange mic compatibility — but you definitely get quite a lot for the price. Not only is it a dual receiver system that will cut down on the expense and hassle of working with 2 wireless sources. It is also seems like a well-built product that looks, feels and sounds professional. And yes, it does look like the Sony UWP-D11. A lot. At the moment, the product is available on Amazon.com starting at around $300, with prices depending on the exact configuration you choose. Note: A video review with audio will probably tell you more about the product than a written article. Due to a busy schedule this was not possible at the time, but we will use the Saramonic UwMic10 in one of our upcoming videos so you can check the quality yourselves. Watch this space!

Let’s assume you are a passionate filmmaker with lots of great ideas that you’ve yet to shoot. There is just one problem, again and again… money. Look no further, the guys over at Musicbed just started the Musicbed Film Initiative—and they are about to give you money and gear in order to make your idea a reality. There’s just one catch: it needs to be the best.   $50,000 of Prizes up for Grabs with the Musicbed Film Initiative Do you take your passion seriously? Do you long for nothing more than to bring that idea you’ve had for years to life, subconsciously knowing that you don’t have the finances in place to do so? Fortunately, Musicbed has today introduced the  Musicbed Film Initiative—a three-week competition that welcomes filmmakers to submit their biggest and brightest idea for a passion film project. The competition will be running from today, March 15th through April 4th. The overall winner will receive a substantial package of prizes, rocketing their dream project into the realm of reality! Runner-up prizes are a little less impressive, but still well worth a competition entry in my opinion! In order to enter the competition, you’ll need the following three things: a 350+ word synopsis which describes your film idea 10+ high-quality photos for your stories mood board choose a musical mood from the Musicbed catalog which best drives your story The team over at Musicbed will then pick the best entries from the submitted ideas, with the overall winner taking home the massive prize displayed above. There’s no barrier to entry for non-US residents, meaning that filmmakers from around the world have a chance at making their passion project a reality. Amazingly, you don’t even need to be a Musicbed account holder, either. What really stands out to me, and I am sure you’ll agree, is the fact that all rights to submitted material will stay with the filmmaker—you can read about all of this and more on the Musicbed Film Initiative FAQs. Good luck and remember: Story is THE most powerful tool to arouse the attention of your audience. Did you watch Trumbo, yet? Great movie, indeed (budget was a little over $50,000, though).