Audio specialist ZOOM readies the all-new H8 recorder. As the name suggests, it offers an impressive 8 channels of audio input (but, even more impressively, can record up to 12 channels). Furthermore, it comes with a bunch of modules and handy upgrade paths. Meet the ZOOM H8. The new ZOOM H8 audio recorder. Image credit: ZOOM So I do own a ZOOM H1n from back in the day. This is a handy device for recording audio on-the-go without the need of packing a fully-fledged field mixer/recorder. Times have changed, obviously. The new ZOOM H8 is a beast, really. It not only features an incredible amount of audio inputs, it’s also modular, expandable, has touch-control built in, can act as a digital audio interface for your laptop, the list oes on.. Have a look at the introduction video below to get a first glance: Since things can pretty complicated pretty fast when a device offers too much options and features, the ZOOM H8 has a trick up its sleeve: apps. The whole device adapts to your project’s needs via three dedicated app-driven workflows. Yes, there’s finally an app for that, too. ZOOM H8 Audio Mixer/Recorder This new mixer/recorder is basically 4 devices in one: A location sound mixer/recorder (FIELD app), a podcast recording device (PODCAST app), a live performance music recorder (MUSIC app) and an audio interface for expanding your computers audio capabilities. using the H8 as a field recorder. Image credit: ZOOM Each app turns the ZOOM H8 into a much more specialized recording device, supporting your specific workflow. That’s a neat trick and if the touchscreen works well, I think it’s the way to go with these rather small devices. The whole device is pretty much modular, just like other ZOOM audio recorder in the past. The core unit consits of the screen part and the uniquely-shaped I/O part. This is where you connect your mics, instruments and/or other audio sources to the H8. image credit: ZOOM On top of the unit you can tap into the so-called Zoom Capsule System 2. As a default, the H8 comes with the XYH-6 X/Y Mic Capsule, offering 2 additional channels in a X/Y configuration. But you can swap the module for others, such as the XAH-8, which is basically a more advanced version of the aformentioned module. the XAH-8 module. Image credit: ZOOM The XAH-8 offers a combination of both, a X/Y and a A/B  stereo setup. If you want to go crazy in terms of external audio sources, you should take a close look at the EXH-8, an extension module with 4 additional XLS inputs. It offers gain knobs, pad swithces and +48V phantom power (but you need an external power source connected for that). EXH-8 and VRH-8 modules. Image credit: ZOOM For 360 ambisonic recordings, add the VRH-8. It sports a mic capsule that utilizes four condenser microphones and a built-in accelerometer so that the mic is always aligned in space. Furthermore, this module features an ambisonic decoder which automatically handles the necessary conversions. In the following video, Samuel Greene, product specialist at ZOOM, walks us through the new H8 unit: So this new unit really seems to be a capable piece of tech, although it might be a bit bulky for some. Of course ZOOM has more compact units available, the ZOOM H8 is really building a bridge here to larger recorders, such as the ZOOM F8n. Specifications Four of the six base inputs (1-4) come in the shape of a XLR socket. The next two (A, B) offer a combo jack, accepting XLR or 6.3mm plugs, this is useful for guitars for example. All 6 main inputs support phantom power if needed. The XY module on top supplies the missing two channels. Eight in total, hence the name H8! A 3.5mm audio output can be connected to a camera’s input for example. touch control. Image credit: ZOOM For recording audio the H8 utilizes regular SD cards with capacities up to 512GB. When using the H8 as an audio interface it can record up to 12 individual tracks at the same time. And speaking of recording, it supports both WAV and MP3 files in the following formats: WAV: 44.1/48/96 kHz, 16/24-bit, mono/stereo MP3: 128, 192, 320 kbps The whole thing is powerd by four regular AAA batteries but you also can get the optional AC adapter (ZOOM AD-17) which supplies DC 5 V/1A. When using the H8 as an audio interface, the micro USB socket is on double duty: audio and power. An audio spider? Image credit: ZOOM The ZOOM H8 is 116.4 mm (W) × 163.3 mm (D) × 48.6 mm (H) in size and it weights 354 g. These measurments only apply to the main unit without the attached XYH-6 module. When using the optional BTA-1 remote dongle, you also can start/stop and monitor levels remotely via your phone. Remote control. Image credit: ZOOM The ZOOM H8 is available now. I think this is a pretty impressive piece of gear for those who don’t want to go all in with large and bulky devices but still want to use their audio gear in a very flexible way. The app-driven approach seems to be well thought out, things like dedicated menus for still photography and video modes on mirrorless cameras pop in mind. Links: ZOOM website What do you think? Could this be your next-gen audio recorder? Share your thoughts in the comments below!

Dealing with multiple cameras and/or sound mixers? Timecode is important to tie everything together for a smooth post workflow. But TC tends to be a bit tedious. The new DISH.TC PRO device might offer a solution to this… a solution from outer space! The new DISH.TC Pro. image credit: DISH This box is the second iteration of the already available DISH.TC (read our article here). This time around, the PRO version replaces the 3.5mm jack with a proper BNC connector. Furthermore, it adds the ability to switch framerates from 23.98 fps all the way to 30 fps. DISH.TC PRO – Now on Kickstarter Just like the first version, the new DISH.TC PRO makes its debut over on Kickstarter. The older (or rather, other) version won’t go anywhere, the PRO just expands the lineup for pro cameras and sound mixers. So you have to make a choice: 3.5mm out for audio-based LTC timecode from the original unit, or framerate-switchable TC via BNC for higher-end cine cameras. Both devices share one thing: universal timecode without the necessity of jamming, connecting to a parent clock, or any other setup, really. Normally, TC generators work in a master/slave (a terminology nobody should use, really) parent/child mode. Unlike this, the DISH.TC devices receive accurate timecode from satellites with an accuracy of 1/500,00th of a frame. They never have to be connected to each other, they don’t need to be in the same location (or on the same continent). Each and every DISH.TC is in sync to UTC time, always. “Normal” DISH.TC (left) vs. DISH.TC PRO (right). Image credit: DISH All you have to do is to set the correct framerate for your project, connect the DISH.TC PRO to your devices’ TC input and off you go. How Does it Work Since the timecode generation is handled by a network of satellites up in the sky above, the DISH.TC devices here on earth are quite simplistic in terms of user interaction. They will receive, process, and output accurate UTC based timecode whenever they are powered up and connected to a camera or sound mixer. The manufacturer claims that it will even work indoors, except in metal buildings with no windows (a sound stage maybe?). DIS.TC PRO, connected to a sound mixer/recorder. image credit: DISH If your phone can find its location, your DISH.TC will find accurate TC, too. And if not, it still outputs valid in-sync timecode since each DISH.TC has its own internal clock. You just need to bring it outside for an initial uplink to the satellites and you’re all set. That’s the promise and to me, the idea is tempting, indeed. Here is a video, provided by DISH.TC in which Bobby Dalley speaks a bit about the new DISH.TC Pro: The whole process really sounds quite simple. The way timecode should be, really. The DISH.TC PRO is powered via two standard AA batteries which will last for up to 40 hours. One 1/4 20 mount can be used for attaching the DISH to your gear. I tend to use just plain velcro for these things. The Kickstarter Campaign The DISH.TC PRO is not available for regular retail just yet. First, it will go through the recently launched Kickstarter campaign, which will end in about a month (July 29th). You can back the project by “ordering” one unit (from $209 – early bird), a set of two (from $419 – early bird), a set of five ($1.049 – early bird), or even ten DISH.TC PRO’s ($2.099). Remember, that Kickstarter is not a retailer but a funding platform. So everything can happen, including complete failure and loss of money. In return for taking the risk, you are rewarded with lower prices than the regular retail price. Framerate selector. image credit: DISH Links: Kickstarter Campaign | DISH website What do you think? Is this the TC device you’ve waited for? Do you use other solutions? Which ones? Share your experiences in the comments below!

Sound Devices introduced the NoiseAssist plugin for the MixPre II Series Mixer/Recorder (paid plugin) and released a Firmware Version 7.00 update for the MixPre Mixer/Recorder, which makes the small MixPre more powerful. Let’s have a closer look! Image credit: Sound Devices, modified by:Cinema5D Sound Devices Firmware V7.00 Update for MixPre and MixPre II Sound Devices just released a new Firmware Version 7.00 update for their entry-level field recorder/mixer – the MixPre II Series, includes the MixPre 3-II, the MixPre 6-II, and the MixPre 10-II Product. With this update, Sound Devices introduced the NoiseAssist Plugin for the MixPre II Series. The Plug-in was previously only available for the high-end 8-Series Mixer/Recorders (additional info in our news report can be found here). This makes the MixPre II product much more handy and powerful for some situations such as interviews and live streaming. The update also enables the MixPre to have other features such as output delay both on analog and USB output up to 400ms, which ensures that audio is in sync with camera video feeds; support to the P.I Engineering’s X-Key programmable Keyboards, Sticks and Keypads as control surface; and some other improvements to the product. Firmware V7.00 Update Features and Fixes The Firmware V7.00 Update does not only introduce the NoiseAssist Plug-in, but also adds some more features to the MixPre-II Series, and fixes some known issues, this includes: New Features Introducing NoiseAssist, an optional paid plugin for one instance of adaptive ambient noise suppression. NoiseAssist is an advanced signal processing algorithm that reduces background noises such as traffic, generators, HVAC noise, and more. It features a simple user interface with only one adjustment, the amount of background noise to suppress. The plugin is available now at store.sounddevices.com for an introductory price of $300. Available in Advanced mode or Custom modes with Record or Channel set to Advanced. (MixPre II Series Only) MixPre-3 II and MixPre-6 II now have output delay available. When sending audio to video operators on a production set, output delay ensures that audio is in sync with camera video feeds. Outputs can be delayed from 0 to 400 ms. Output delay now applies to USB Outputs. Prior to firmware v7.00, output delay only applied to analog outputs. Delay may be used to keep audio from USB outputs in sync with video streams, which inherently have more latency than audio (only applies to MixPre-3 II, MixPre-6 II, MixPre-10 II, and MixPre-10T). Support for P.I. Engineering’s X-keys® Programmable Keypads, Sticks & Keyboards. X-keys products are programmable via P.I Engineering software to any standard USB keyboard functions. When mapped to the same keyboard functions as the MixPre’s USB Keyboard Shortcuts, these compact control surfaces can offer quick, tactile control of MixPre functions. Functions include Record, Stop, Play, and many more. USB 1 and 2 can now be used as sources for headphone presets in Audio mode. MixAssist is now available with all sampling rates at or below 48.048 kHz. Fixed Issues MixPre no longer goes unresponsive when a keyboard command is sent while in the File List. Aux 1 and 2 routed to channels 5, 6 on MixPre-6, and -6 II or to channels 9, 10 on MixPre-10 T, and -10 II no longer change levels when Playback is stopped. Audio level discrepancies between channel gain in basic mode and the USB Outputs no longer occur. Channels 5, 6 on MixPre-6, and -6 II or channels 9, 10 on MixPre-10T, and -10 II are no longer panned incorrectly following a power cycle when Outputs are set to basic. Headphone Presets with linked pairs no longer only play one side of the linked pair. USB Output routing no longer allows both pre- and post-fade routing while in Custom modes with gain set to Basic and channel and outputs set to Advanced. Output and Headphone Limiters no longer remain active when switching to 32 Bit Float from 16- or 24-Bit with the limiters on.   The NoiseAssist Plugin for MixPre II Earlier this year, sound devices announced the NoiseAssist Plugin for their 8-Series Mixer/Recorder. As the name says, the plugin reduces background noises such as traffic noise, generators, HVAC noise, and more in real-time on the fly. This powerful tool is now also available for the MixPre-II Series mixer/recorders. The Introduction Video from Sound Devices for the MixPre-II NoiseAssist Plug-in: The NoiseAssist is very easy to use – simply adjust the amount of background noise to suppress and that’s it. With only 1 ms latency, the NoiseAssist works very fast and efficiently. One instance of NoiseAssist can run on any channel, bus L or bus R. And furthermore, the NoiseAssist can be used with MixAssist Plug-in together, which makes any talking situation sounds cleaner and better, no matter if it’s one, two or more voices. Please be aware, the NoiseAssist Plug-in is only available for the MixPre-II Series, the original MixPre Series will not be able to install the plug-in. Installation guide and set-up tutorial from Sound Devices: The NoiseAssist can be purchased at Sound Devices’ Plugin Store, and it is priced at $300. You can check the compatibility of your machine by simply entering the serial number on their purchasing webpage. Links: Sound Devices Noiseassist for MixPre II Are you a MixPre user? Do you think dealing with background noise while recording audio is wise or better done in post? Let us know your experiences about fighting background noise on set and what you think about the NoiseAssist Plug-in.

The audio mix process can be a little nebulous for filmmakers. What is achievable from the post perspective, and what are some best practices for working with audio production houses? We joined the lead audio designer and co-founder of LA-based MelodyGun, Thomas Ouziel, for a quick Zoom conversation about giving notes to audio designers, how mixing is budgeted, and a few quick tips for navigating the audio workflow on your documentary, film or commercial.  Post mix session for Ms. White Light. Image Credit: MelodyGun Tips for Nailing your Audio Mix The team at MelodyGun has worked on commercial projects for brands like Lexus, Ubisoft, and Popeyes — to name a few. Beyond that, they’ve mixed several feature films, including Arctic, Ms. White Light, The Good Catholic, and Dry Blood. Since their work spans a variety of genres from documentary to commercial and everything in between, I thought lead audio designer Thomas Ouziel would be the perfect person to help us with the tricky topic of post audio work. Here are a few highlights from the conversation with Thomas: Involve the post audio team as early as possible in the production. This helps avoid “sound becoming a patchwork for the film.” Letting the sound team have a voice on-location leads to less need for ADR or additional dialogue replacement later. The best questions to ask while in the mixing room are often “feeling-based”:  what is a characters’ motivation? Ask yourself this question: “How does sound enhance the imagery and go beyond it?” Image Credit: MelodyGun Good audio can mean the difference between a stellar movie and one that doesn’t make a blip. Working with the right post team and asking the right questions is crucial. Image Credit: MelodyGun What do you think? Are there any other best practices for working on the post audio mix that we didn’t cover? Let us know in the comments below! Author Disclosure: The author of this article has worked on three features mixed by MelodyGun in a producing capacity. 

Deity Microphones, a sister company of Aputure, makes a variety of affordable audio devices from on-camera shotguns to wireless transmitters and receivers. The company has a new Interview Kit that promises to be a turnkey solution for capturing quality interview audio directly into the camera or into a mixer. Here’s my first review of Deity products and the Interview kit as a whole: Deity Connect Interview Kit. Image Credit: Graham Sheldon As primarily a Director of Photography and Producer by trade, I find audio to a little intimidating. It’s just not a field I’m too familiar with and while I recognize its importance to the production as a whole I’m looking for audio kits that give me just the right amount of options, but not enough to be overwhelming. The Deity Connect Interview Kit, priced at $699.00, seems to be aimed squarely at users like me. Everything comes packed in a hard case with a molded foam interior that includes the following items: 1x BP-TX Bodypack with Microphone 1x HD-TX Plug-On with Built-In Recorder DUO-RX Dual Channel Receiver 2 x Lavalier Microphones (the kit only includes one bodypack, so having two is a nice backup) 2 x XLR to 3.5mm Cables DSLR Locking Audio Cable DUO-RX Sync Cable USB Type-C Cable USB Type-C to USB Type-A Firmware Update Adapter 1x Transmitter Antenna 2 x Receiver Antennas 2 x Windscreens 2 x Lavalier Clips Metal Cold Shoe to 1/4″-20 Adapter This is undeniably a very complete kit and seems in keeping with the Aputure tradition of shipping well thought out and complete kits, versus one-off products that require multiple separately purchased accessories to reach their full potential. So far so good. DUO RX Dual Receiver showing channel one on the left and channel two on the right. Image Credit: Graham Sheldon Deity wireless products don’t operate on a UHF band and instead use 2.4 GHz wifi system, which is great for fast pairing, but I was initially nervous about how it would hold up in a WiFi rich environment with many overlapping signals competing — more on that later. Time to set everything up. Deity HD-TX front and center.  The micro SD slot is on the side (not pictured).  Image Credit: Graham Sheldon Deity Connect Interview Kit – Setup Making everything work together is absurdly easy out of the box and everything comes paired on a “12345 User ID”. Obviously you’re going to want to change the User ID number to something different and doing that is a quick 10-second journey through the menu. The partially aluminum BP-TX Bodypack does feel a little plasticky to the touch on the sides and that might mean for a short life in a rental environment, but it feels like it can hold up under normal production stress in the hands of a careful an owner/operator. The OLED screen is easy to read in daylight and you can quickly select different options in the menu like Mic Level, Limiter, Low Cut and even an option called Frequency Boost at the cost of a little battery life, though I found myself leaving the RF Power at 100 mW for the most part. The kit comes with two 5.25’ black lavalier omnidirectional microphones that use a 3.5mm TRS Male Unbalanced output that locks into place on the BP-TX. This image is meant as a size comparison only and I don’t mean to suggest the specs are similar between these three receivers. Image Credit: Graham Sheldon I found the DUO-RX receiver to be a little larger than I expected, but it is a dual channel receiver, so you’re getting two receivers in a footprint just slightly larger than a single receiver in the Sony UWP system (see above image). It would be great if the DUO-RX is smaller, but at about half a pound it wouldn’t take up much real estate on any mid-sized camera body. Mounting the receiver is simple using the provided belt clip, 1/4″- 20 or 3/8″th threads. The HD-TX Plug-On allows for internal recording on a micro SD (not included) which is a nice defense against the odd wireless range drop out. You have REC, STOP and PAUSE and PLAY buttons on the exterior of the HD-TX and the external 3.5mm headphone output allows you to do a quick spot check of the recorded audio files by going over to the “File” section in the menu. Again, very straightforward in terms of usability. Firmware can be upgraded on the HD-TX, BP-TX, and the DUO-RX by visiting the link HERE. We discuss the new updates the latest firmware brings in a post HERE. In short, don’t forget to upgrade the firmware after you get the kit because the new software updates are well worth it. The BP-TX Bodypack without antenna.  Image Credit: Graham Sheldon Deity Connect Interview Kit – Power The BP-TX Bodypack, HD-TX Plug-On, and the DUO-RX Dual Channel Receiver all operate off a USB-C charged (two cables included) built-in lithium ion battery. According to the specifications we’re looking at an overall battery lifetime of about 500 cycles. I have mixed feelings about using internal batteries, but after several days in a row of filming with the kit, I’m sold on the internal power idea. The Bodypack, Plug-On, and dual receiver all lasted for the entire day of filming starting at a full charge. Obviously you don’t want to be in a situation where the production halts because you need to wait for charging so there is an argument to be made for purchasing another Bodypack beyond the core kit as a backup. So many batteries have external USB out these days I wouldn’t worry as much about keeping the DUO-RX going over a long day with the addition of a small external battery to your kit or by simply running the USB cable from your on-camera V or Gold Mount to the receiver. I most often used the HD-TX Plug-On attached to a K-Tek Boom Pole with a Sennheiser MKH-60 shotgun at the other end, though it would of course be fine in an interview style red carpet hand mic setup. You can also feed +48V Phantom Power out of the Plug-On by going to “Input Type” -> XLR and turning phantom power on. Very handy. W.Lav Pro with DA35 Adapter Lavalier W. Lav Pro on the left and the included kit lav mic on the right. Image Credit: Graham Sheldon The folks at Deity Microphones were kind enough to ship their new $149.00 W.Lav Pro mic for review alongside the interview kit. The size differences between the included lav in the Interview Kit and Deity’s separately available W.Lav Pro (see above image) are pretty clear and the semi-rigid case that the W.Lav Pro bundle ships with keeps everything neat and tidy. Deity also throws in some medical tape and soft mounting stickers in the bundle that helps to hide the lav in clothing — easier to do with the W.Lav Pro versus the two slightly larger lav mics the Interview Kit comes with. The W. Lav Pro kit with additional slots for optional connectors. Image Credit: Graham Sheldon The W.Lav Pro along with the DA35 connector works with a variety of other brands as well as Deity including the popular G3 from Sennheiser and the RODELink and Wireless GO from Rode. Deity does sell additional connectors (not pictured) for between $29 and $39 that can be used with other brands like Lectrosonic and for devices that use standard 3.5mm inputs. Deity Connect Interview Kit – Range Most of the shoots I had while working with this kit occurred in small to mid sized rooms, though I did work outside a bit in the city. Inside I experienced no signal dropouts, but as competing WIFI signals started to bounce around I did notice signal dropouts at about 90-100 feet outside in a city environment. This may not be the best solution for picking up clean audio from hundreds of feet away, but it’s obviously aimed at interviews, and UHF systems also can be hit and miss over long range. To sum up – for most interviews you won’t experience any range issues with this kit. For longer range applications when you are separated from your boom op — you may want to record locally to the HD-TX micro SD. Deity also just recently announced a new product called the BP-TRX that can record locally as well and may be worth a look at for your long range needs when it starts shipping in Summer 2020. Another angle of the kit showing additional connectors. Image Credit: Graham Sheldon Conclusion As I alluded to at the top of this article the Deity Interview Kit seems perfect for the small crew wearing multiple hats. It just works out of the box and given how many gigs out there revolve around shooting interviews, you’ll be well positioned for that job and more with this kit. The molded hard case makes for a convenient transport solution and you’re getting a very complete system for the $699.00 price. Professional audio mixers may need more range and functionality, but for those looking to get clean audio with little fuss then this is a great option for you. Turnkey audio solution in a small pelican style hard case. What more could you want? Image Credit: Graham Sheldon What do you think of the Deity Interview Kit? Have you used other Deity products before? We would love to hear your thoughts in the comments below!  

Accusonus, a company specialized in audio restoration plugins, has just announced the launch of a new app for iOS smartphone shooters: Mauvio. The idea behind Mauvio is to improve the audio of your existing videos by removing background noise, enhancing the shape of your voice, getting a proper audio level, and balancing your audio signal by eliminating level inconsistencies. Let’s take a closer look at it! Improve the Sound of iOS Video Recordings with Mauvio Accusonus is mostly known for its audio restoration tools like ERA 4 that we already reviewed here. More recently, we even did some Quick Tip videos like “how to remove audio background noise and reverb” that you can watch here. Today, the company is joining a new market by launching Mauvio, Accusonus’ first iOS app. Image credit: Accusonus The concept behind the Mauvio app is similar to the ERA 4 plugins: improve your audio recordings quickly and easily. Once you launch the app, you have to import a video clip that you already recorded. Then, there is a “Before/After” switch, and four tabs at the bottom: De-Noise, Balance, Enhance, and Volume. It’s not easy to design a user interface that is as simple and straightforward as Mauvio. Mauvio’s user interface. Image credit: Accusonus Then, you can play your footage and click on each tab at the bottom to adjust the strength of each audio restoration setting. Inside each tab, there is only one slider to change to improve the sound of your video clip. Of course, like always with audio restoration plugins/app, the better your recording is, the better the results. De-Noise, Balance, Enhance, Volume, Export As I mentioned, there are four tabs at the bottom, each one corresponding to a tool. The first one is the De-Noise tool that reduces audio background noise from A/C, roads, crowded environments, or electric noise like a hum, buzz or hiss. Image credit: Accusonus Then, once audio background noise is gone, you can enter the Balance tab, that evens out sound level inconsistencies throughout your video. Next, you can open the Enhance tab that acts as a compressor to help achieve “broadcast quality speech results,” according to Accusonus. Last but not least, the Volume tab boost or reduce the loudness of your video, so your videos are always at the perfect audio level. Finally, when you’re satisfied with how Mauvio’s sound, all you have to do is hit the export button to create a new file in your iOS gallery. Pricing and Availability Mauvio is available now on the Apple App Store. The app is free, and you can test it with your video clips. However, the free version has some export limitations. If you want to unleash the App export capabilities fully, you can purchase it for one month at $2.99, or $9.99 for an entire year. What do you think about Mauvio? Do you think it is useful to improve your video recordings? Did you already try it? Let us know in the comments below!

During our cinema5D Virtual Show, we had a conversation with Tino Liberatore from K-Tek about two products they launched a couple of weeks ago – the K-Tek Interview Pole and K-Tek Airo Boompole Holder – as well as two new products: the K-Tek KP6 KlassicPro Traveler boom pole and some new XLR cables and XLR connectors. Let’s take a closer look at it! Image credit: K-Tek K-Tek KIP Graphite Interview Pole The K-Tek KIP Graphite Interview Pole was released about a month ago as a direct answer to the pandemic and social distancing. Clearly, journalists also need to keep a safe distance from the interviewee while still having a proper sound recording if they don’t want to attach a lavalier microphone on the talent. Image credit: K-Tek This new 2-section K-Tek Interview Pole as a collapsed length of only 38.5″/98cm and extend to 6 feet/1.85m. Also, due to its graphite construction, it is very lightweight at only 10-oz/285g. At the end of the K-Tek Interview Pole, there is a 3/8″-16 threaded stud, and it comes with a 5/8″-27 adapter. K-Tek Airo Boompole Holder The Airo Boom Holder allows you to attach any boom pole to a C-stand easily. It is made from black anodized aluminum, and there is padding inside the cradle, so you don’t scratch your boom pole. Image credit: K-Tek Apart from social distancing, if you often shoot sit-down interviews, this is a must-have accessory to have in your audio kit. As a one-person crew without a dedicated boom operator, this is something I often do. Image credit: K-Tek K-Tek KP6 KlassicPro Traveler Boom Pole Tino Liberatore also introduced its new K-Tek KP6 KlassicPro Traveler boom pole. This lightweight and compact pole is only 21 inches/53cm long when folded, and extends up to 6 feet/1.85m. The KP6 is a 6-section boom pole, and it features a removable headpiece for cable reconfiguration without soldering. Also, it is compatible with the KPCCR module to allow for a coiled cable option with a side XLR exit. The top attachment is a 3/8″ – 16 male thread and the bottom has a removable rubber bumper. Image credit: K-Tek K-Tek XLR Connectors and Cables Last but not least, Tino Liberatore announced some new XLR cables and connectors. The XLR cables feature double-shielded insulation and are wrapped in Teflon. According to Toni, these cables should make less noise inside the boom pole. They will be available in four lengths: 5/10/20/30 feet. Image credit: K-Tek Also, there will be two versions of each cable: a “standard” one with straight Neutrik XLR connectors on both ends, and one version with the new K-Tek low-profile 90° XLR connectors. These connectors are made out of aluminum and feature strain relief connectors. Also, the K-Tek XLR connectors have a very low-profile, and you can rotate them by loosening two screws. Pricing and Availability The K-Tek KIP interview pole is available now for $129.95. The K-Tek Airo Boom Holder is also available for $49.95/€47.09. The KP6 KlassicPro Traveler and XLR cables/connectors should be available in two weeks. There is no word on the pricing of the KP6 nor the XLR cables, but the XLR connectors target price is around $30.00. What do you think about all these new K-Tek products? Do you often use a boom pole on your shoots? Let us know in the comments below!

Quality videos require quality sound design, no news here. But where to get decent sounds for your productions, you ask? Well, Shutterstock is giving away some sizzling ones for free. So let’s start cookin’, shall we? image credit: Shutterstock Assuming you’re home a lot these days. You may have a little time on your hands but you don’t know what to do. Well, you’re not visiting these pages for no reason so I’m thinking you’re into video. And since you’re stuck at home anyway, an obvious idea might be some nice cooking videos. Even if you don’t want to establish a dedicated cooking video channel on YouTube, creating such a video could be good practice: Just check out shows like Chef’s Table on Netflix, I’m sure you’ll like what you see. Shutterstock Giveaway: Cooking Sounds In order to let the result really shine, Shutterstock provides you with a set of 50+ sounds typically found in a kitchen. And best of all: you can use these sounds completely free of charge, no account needed. The license covers both personal and commercial productions. The only thing you can’t do is resell them. Fair enough I think. Check out the video below to get a first impression: You can download the free pack directly from Shutterstock. If you haven’t use dedicated sound effects for one of your productions yet you’ll be surprised how much a difference good sound design makes. A good video is great but it’s nothing without a decent soundtrack, really. One thing to remember is to add some faded background music or ambient sound of the room you were shooting in so remember to capture a good 30 seconds of room tone! image credit: Shutterstock Sound effects can sound a bit harsh when used without any kind of ambient sound so play around a bit with them in your favorite NLE in order to create the perfect mix. Bonus – 15% Off Coupon When you download the zip from Shutterstock, you’ll notice an extra PDF that contains a nice surprise: A coupon granting 15% off of everything Shutterstock has on offer. Footage, images, music, you name it. It’s valid through Dec 31, 2020. Of course, Shutterstock wants to make some business here, who can blame them. I think this free audio FX pack is a seriously good offer and if you find something else in their catalog for purchase, why not? Enjoy checking out some new recipes while surprising your family with a (hopefully) yummy dinner! Just add a camera, these delicious sound effects, and some creativity. links: Website What do think? Will you give it a try and shoot some cooking action? Let us know in the comments below!