Saramonic is launching the Saramonic SPRX9, a wireless microphone receiver, created to bring professional wireless UHF recording to smartphones. It works with the existing line Sarmanonic UwMic9 transmitters and provides lots of connectivity options for smartphones. We had a closer look. The Saramonic SPRX9 can be used with two wireless UHF (ultra high frequency) lavalier microphone transmitters from the UwMic9 series simultaneously, providing mixing for the two separate channels, that will stay intact and separated when recording to iPhones. The receiver will come in a handy kit, with connectivity options for smartphones: Lightning cable and a 3.5mm mini jack. Additionally there will be an mini XLR to XLR adapter included in the kit, that will provide phantom power to use your professional microphone with your smartphone. The Saramonic SPRX9 will also be able to output sound via 3.5mm mini jack and Micro USB. The receiver’s size will fit the backside of a modern smartphone nicely and comes in at just 234g. It has an internal battery, that can be charged via a 5V DC input or USB-C. Signal to noise ratio is rather favorable at 70dB+, with distortion pretty low at 0.5% or less. Voice delay is 12ms. Here’s an overview: Wireless UHF receiver for smartphones Works with Saramonic UwMic9 line of mics Two separate channels with mixing, which stay intact when outputting to iPhone 3 cables included for Lightning, USB-C and 3.5mm mini jack connection Output via 3.5mm mini jack and Micro USB Phantom powered mini XLR, with XLR adapter included, to connect professional XLR mics to the receiver Internal battery with USB-C charging Signal to noise ratio 70dB+ Distortion < 0.5% Voice delay 12ms The Saramonix SPRX9 will be available in about a month’s time, pricing will be announced on Saramonic’s website. Will you step up your audio game when working with your smartphone with the Saramonic SPRX9? Let us know in the comments!

CAME-TV presented, among other products, their new duplex headphones called CAME-WEARO. They will operate as a set of up to four wireless headphones and should ensure seamless communication between team members. We talked with David Wong from CAME-TV during the IBC show and found out more about it. As David stated, the aim of the product is to increase efficiency on filmset by assuring seamless communication between team members. This can be useful for instance on a liveshow with multiple cameras. This idea is not entirely new of course as there are other products like this on the market, but CAME-WEARO offers few interesting features. The headphones will be available as a standard kit of four pieces – one master and three slave units. It will also be possible to only buy a set of two or three headphones – master and one or two slave units. Every unit has three buttons on the side of one ear cup to control volume and pairing. The CAME-WEARO headphones feature a portable folding design. Muting the headphones’ microphone is easy as it only requires turning/lifting the microphone to an upright position. The duplex headphones use standard Canon NB-6L batteries so it is easy to buy spare batteries basically anywhere. The 1100mAh battery gives them approximate talking time of 12 hours. CAME-TV offers their CAME-WEARO duplex headphones in two versions: single headset – only one side is equipped with speaker, the other side is without speaker so that user has one free ear to hear surroundings better dual headset – both sides are equipped with speakers for stereo sound Pairing the headphones is easy and fast. In a couple of seconds it is possible to pair slave headphones with a master. Even after buying additional replacement headphones pairing is not an issue. The range of the headphones is between 300 and 600 metres in unobstructed open space. It supports group calls simultaneously. The communication technology used in the headphones is called time division duplex (TDD). It refers to duplex communication links where uplink is separated from downlink by the allocation of different time slots in the same frequency band. It is a transmission scheme that allows asymmetric flow for uplink and downlink transmission and users are allocated time slots for uplink and downlink transmission. That makes the communication seamless, like having a conference call. Channel bandwidth of the headphones is 1.728GHz and transmission speed is 1.152Mbps. CAME-WEARO headphones use different frequency bands for different parts of the world to comply with local frequency restrictions. All frequency settings are being handled by software. The CAME-WEARO duplex headphones should be available in two months and the four-piece set should cost around $600.00 USD. CAME-TV also aims to offer a hub in the future which will be able to connect up to 6 headphones slave units. For even bigger production crews, more hubs can be used. What do you think of the CAME-WEARO duplex headphones from CAME-TV? Which headphones do you use for fast on-set communication? Let us know in the comments below.

The Sennheiser Memory Mic is a wireless microphone and audio recorder for smartphones. It has its European premiere here at the IBC 2018 and is now shipping worldwide. We talked to a Sennheiser representative about this interesting product. With this new product, Sennheiser reflects on the trend that many journalists and reporters have lately started using smartphones for their work. The key drawback of this solution has been sound quality. Filming an interview with a smartphone often required using a conventional external audio recorder or a regular cable microphone in order to get some good and usable audio. The Sennheiser Memory Mic features a lightweight, small body and offers wireless broadcast-quality sound. The microphone works with both, Android and Apple smartphones via the free accompanying app. The mic can be attached to clothing via a magnetic clip and weighs only 30 grams. The Sennheiser Memory Mic features one-touch synchronization of audio and video via bluetooth. It records the audio by itself, just like a regular audio recorder and it can therefore work at any distance to the smartphone. After recording is finished, the mic connects to the smartphone and transfers the audio file via wi-fi while the Sennheiser app synchronizes it with the recorded video. When recording with the Memory Mic, the integrated microphone of the smartphone is active too and works to concurrently pick up ambient sound. Using the dedicated audio mixer of the Memory Mic app, it is possible to select the optimum balance between ambience and the audio captured with the Memory Mic, later on. As the wireless Memory Mic does not occupy any input on the smartphone, journalists can still use additional accessories such as a gimbal or connect an additional wired microphone for interviews. The Memory Mic incorporates a condenser capsule with omni-directional pick-up pattern. The omni characteristic is particularly resistant to wind noise and forgiving if a speaker changes the angle and/or distance at which he or she is talking into the microphone. Via the app, the sensitivity of the microphone can be set at three levels, in order to adapt to louder or quieter environments. The operating time of the microphone lasts for up to four hours. Full recharge of the integrated lithium-polymer battery via the USB port takes two hours at most, while reaching 70% capacity of the battery takes about an hour. Sennheiser Memory Mic – Specs System requirements: Android version 5.1 or later; iOS version 10.2 or later; Bluetooth 4.1 or later; WLAN IEEE 802.11 b/g/n Transmission frequencies: 2.4 to 2.4835 GHz RF output power: ≤ 10 mW Max. sound pressure level: 119 dB SPL Capsule: prepolarised condenser microphone Pick-up pattern: omni-directional Frequency response: 100 – 20,000 Hz Data stream bit resolution: 48 kHz/16 bit Operating time: ≤ 4 h Power supply: rechargeable lithium-polymer battery; 3.7 VDC, 360 mAh Charging current: 5 V, 500 mA via USB Charging time: 70% charge: ≤ 1 h, 100% charge: ≤ 2 h Dimensions: approx. 51 x 37 x 16 mm Weight: approx. 30 g Temperature range: Operation: 0°C to +40°C, Storage: -20°C to +70°C The Memory Mic is available now and comes with a USB charging cable and a quick guide. The free Sennheiser app is available in the Apple App Store or via Google Play. The windshield for outdoor recordings in windy conditions will soon be available. Thinking out loud, the Memory Mic could also be used alongside an existing wireless audio setup as an isolated audio backup that would be free of interference or drop outs. Do you use a smartphone for journalist work? How do you capture high-quality audio? What do you think of the Sennheiser Memory Mic? Let us know in the comments below.

RØDE has just released their plugin for ambisonic audio processing – the SoundField by RØDE Plugin. It offers a new approach to ambisonic processing combined with an intuitive user interface. The plugin is supported by various applications for both, Mac and Windows. Ambisonic audio is basically 3D surround audio, which not only comes from 360 degrees around the listener, but also considers the vertical placement of the sound source. Imagine a sphere around the listener’s ears where the sound can come from any point on the sphere. The popularity and importance of ambisonic audio grew hand-in-hand with the growth of VR 360 videos. Many big audio companies already have their ambisonic microphones on the market – Sennheiser, Zoom, RØDE, just to name a few. The new SoundField by RØDE plugin offers a new approach to ambisonic processing coupled with a new user interface. RØDE claims that their plugin offers the most accurate ambisonic rendering available in the world. The SoundField by RØDE plugin operates in a different way than traditional ambisonic processors. Eschewing the matrices and correction filters of previous generations, it utilises frequency-domain processing to deliver unparalleled spatial accuracy at all frequencies. As mentioned, RØDE already has their ambisonic microphone on the market. The RØDE NT-ST1 ambisonic microphone is a broadcast-grade true-condenser microphone, which captures A-Format high quality sounds. The new SoundField by RØDE plugin can work with other formats too, though. Being able to change the polar pattern of virtual microphones in post-production is a well know feature of ambisonics and it allows the user to create everything from omni through cardioid to fig-8 patterns. The new SoundField by RØDE goes beyond this – for the first-time allowing shotgun-type patterns to be created. It allows users to quickly set up mixes for all the common surround-sound formats, from 5.1 through to 7.1.4 (with-height) formats. The interface for the RØDE SoundField plugin is intuitive and has also been created using feedback from users. The simple sound level visualisation gives immediate feedback about levels and soundscape, whilst ‘advanced’ mode opens up all parameters and controls for the ultimate in-sound shaping. SoundField by RØDE Plugin – Specifications Input Format: A-Format™, B-Format™ (FuMa), B-Format™ (Ambix) Output Format: B-Format™ (FuMa), B-Format™ (Ambix), Mono, Stereo, 5.1, 7.1, 5.1.2, 7.1.2, 5.1.4, 7.1.4 OS Requirements: Windows 10, macOS 10.11 or higher Plugin Type: VST, AAX (Windows & macOS), Audio Units (macOS only) Supported host applications: Avid ProTools 12.8, Steinberg Cubase 9, Steinberg Nuendo 8, Cockos Reaper 5 (Windows & MacOS), Apple Logic Pro X 10.4, Apple Final Cut Pro X 10.4 (macOS only) You can download the plugin for free right now from the RØDE website. Do you record ambisonic audio? What do you think of the new SoundField by RØDE Plugin? Let us know in the comments below.

There are lots of interesting deals for filmmakers available. We selected the best 10 offers of filmmaking gear from our partners’ online shops for this week, including the Sony a7R III, 13” MacBook Pro, Canon EOS M6 and a few different lens options! I went through the current deals on our partners’ websites and selected the top 10 offers currently available, which I think could be interesting for you. First, there are B&H offers listed for our readers based in North and South America and then a couple of deals from our European partner CVP. By shopping at our affiliate partners’ stores you are supporting cinema5D through our buy links, as we get a small affiliate commission when a purchase is completed. Now, let’s take a look at this week’s top 10 deals for filmmakers: B&H: Sony a7R III with Tripod, Backpack, and Neckstrap – $300 Discount Sony’s high-resolution, full frame a7R III was a wild success when it was released last year, and it can now be yours at a discount. This combo pack comes with a sturdy ball-head tripod, a camera bag, and a much more comfortable neckstrap than the stock Sony strap. Buy link: Sony a7R III Pro Combo Was: $3,298 Now: $2,998 (Savings: $300.00) B&H: Interfit F5 Three-Head Fluorescent Lighting Kit with Boom Arm – $100 Discount For any filmmakers lacking a lighting kit, this could be a fantastic opportunity to remedy that situation. The Interfit F5 kit accepts standard-issue light bulbs, allowing for huge flexibility in lamp selection. Cheap CLFs, color-balanced LEDs, and high-power photofloods are all viable – and affordable – options that can be found at most stores. With softboxes, stands, and a boom arm, this kit is a steal for anyone in the market for a first light kit. Buy link: Interfit F5 Three-Head Fluorescent Lighting Kit with Boom Arm Was: $299.99 Now: $199.99 (Savings: $100) B&H: Lexar 64GB Professional 1000x UHS-II SDXC Memory Card – $15 Discount Lexar’s unexpected death certainly left a hole in the market for flash media, but that doesn’t mean that all of their cards disappeared overnight. In fact, B&H seem to be sitting on a stockpile of 64gb UHS-II SD cards. For brand loyalists, this may be one of the last times to grab one. For the rest of us, its’s just a steal of a deal. Buy Link: Lexar 64GB Professional 1000x UHS-II SDXC Memory Card Was: $48.99 Now: $33.99 (Savings: $15) B&H: Apple 13.3″ MacBook Pro with Touch Bar (Mid 2017, Space Gray) – $400 Discount Apple’s 13” MacBook Pro is a classic editing platform for the editor on the go. With 2018 models hitting the shelves, B&H is offering discounts on last years’ MacBook Pro. With a blazing-fast 256gb SSD and 8gb of RAM, it won’t be the most powerful machine in the world. But for those working with 1080p footage, this base model will be more than enough to keep you editing smoothly on the road. Buy Link: Apple 13.3″ MacBook Pro Was: $1,799 Now: $1,399 (Savings: $400) B&H: Sunpak 423PX2 Tripod Kit with 620-CPG Pistol Grip Ball Head – $100 Discount Sunpak is a consistent, reliable name in the lower-end tripod market. This tripod is no exception – on B&H it has 70 reviews and 4.5 stars. As long as you don’t expect it to support huge lenses or be the sturdiest tripod in the world, you won’t be disappointed. And at more than half off, you really can’t go wrong. Buy Link: Sunpak 423PX2 Tripod Kit Was: $169.95 Now: $69.95 (Savings: $100 !!) CVP: Sony a9 with Free Battery Grip and Light – £360.44 Discount The Sony a9 is a technical masterpiece that delivers blazingly fast burst photos, high resolution, and fast, accurate autofocus that put the pressure on Canon and Nikon’s dominance in the field. If its high price was a turn-off for you, then this might be your chance to grab one. Not only does CVP have it on discount right now, but they will throw in a battery grip and a high-quality LED as well. Buy Link: Sony a9 package Was: £4059 Now: £3699 (Savings: £360.44) CVP: Sony 35mm F/1.8 – £41.67 Discount The deals continue to come in for the Sony shooters this week. Multiple Sony prime lenses are on sale this week, but we chose to highlight the 35mm f/1.8. Everybody and their grandmother knows to buy a “nifty 50” first, but then what? I would argue that 35mm should be the next focal length added to your collection. It’s a versatile lens that can open up your shots without being so wide as to be unwieldy. Buy Link: Sony 35mm F/1.8 Was: £289 +VAT Now: £247.33 +VAT (Savings: £41.67) CVP: Canon 70-200mm f2.8L IS II EF – £250 Discount Don’t feel left out, Canon shooters. The ultra-classic 70-200 f2.8L IS II is on sale as well. This is the standard telephoto lens that every self-respecting wedding, headshot, and portrait photographer is packing. If that sounds like you, jump on over to CVP while this deal lasts. Buy Link: Canon 70-200mm f2.8L IS II EF Was: £1649.00 + VAT Now: £1399.17 +VAT (Savings: £250) CVP: Anton Bauer Cine91 GM – £117.66 Discount The Anton Bauer CINE battery series delivers 12 amps of continuous power and incorporates Fuse Link technology, which provides protection to surrounding battery cells, preventing catastrophic failure. The battery also features multiple sensors to detect temperature and over-current, ensuring optimal battery performance during regular use. Please note: this deal is only for filmmakers in the UK and select EU countries. Click the link to find out more. Buy Link: Anton Bauer Cine91 GM Was: £341.66 + VAT Now:  £224+VAT (Savings: £117.66) CVP: Canon EOS M6 with 15-45mm Lens – £67 Discount And for our final deal of the week, we have something for those more interested in Canon’s mirrorless offerings. Its 24mp APS-C sensor fits inside a compact body with a flip-up screen that, combined with 5-axis IS, makes it just about perfect for vloggers and travelers looking to stay small. It of course comes with a 14-55mm lens as well. Buy Link: Canon EOS M6 with 15-45mm Was: £574.17 + VAT Now: £507.50 +VAT (Savings: £67) What do you think of this week’s selection? Share with us if you know and like any of these products.

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!