Bad Audio? Try These Filmmaking Tools for Small Crews

[@half9media]

Hey Luc, I'm a location sound recordist, and I gotta say you're nailing it for advice to people new to the game. We've used the Tentacle Track E units on bigger documentary shoots where characters would be hundreds of km away for hours at a time on racing vehicles and there was no way to keep up. I've had them strapped to racing helmets, hidden inside cyclist helmets, wrapped up in plastic and sent through car washes, under clothes in pouring rain, and they performed great. Having a functional understanding of timecode will never be a waste of time for anyone on set. It's been one of the most helpful things when trouble shooting on set and coming up with solutions during time crunch. Keep it up!

[@keith-knittel]

This year I finally got into internally recording lav mics and it's been a game changer - opposed to wireless that only send the signal to the camera. Got it to avoid interference and drop outs, but quickly learned that the mic rolling even when the camera isn't allows for some "happy accidents" I wouldn't have captured otherwise

[@LucForsyth]

Absolutely! 💯

[@TeddyRumble]

I agree. Tascam, Diety, Zaxxcom and others can record on personal data recorders. I have the Tascan DR 10L. It's like wireless, but you put it on a belt or in a pocket, put the lav above or beneath clothing, do a sound check, you're good to go.

[@kingmuhu]

This is some high end advice laying around in this indie channel. Keep it up dude

[@LucForsyth]

Thanks, I plan on it!

[@mauritsnienhuis]

'Buffer on your reflexes.' Awesome sentence. Great video, Luc!

[@LucForsyth]

Hahah, now I just need something like that for my life…

[@TheDocumentarian01]

I'll give a second shout for the Rode NTG-3. I've had mine for around 3 years and it honestly hasn't missed a beat in that time. Didn't break the bank either. Good shout for that one Luc.

[@yannickvoyard]

Hey Luc, I don’t know if it’s a given for everyone but many years ago I learned that you can use a “stereo breakout cable” to send two signals into a single 3.5mm DSLR mic input. I bought a 5€ to try and it worked well, I can plug both my shotgun and my lavalier at the same time. In the edit, I will have one mic on the left track, and the other on the right track - which can be easily separated. My best 5€ spent on gear! (Not all “2-to-1” cables will split the audio L/R, some will mix both mics in a single track... Not 100% how to tell them apart.)

[@LucForsyth]

Good tip! I’ve definitely done that before, but it makes me nervous tbh. Glad it’s working for you though!

[@J_HNP]

Would not recommend this at all. This technique unbalances the signal, and makes it very susceptible to RF signal interference, etc.

[@Concise_Focus]

So true about having a good shotgun mic. So key for follow doc work when you don't have a sound mixer with you.

[@TeddyRumble]

Don put it on your camera. Get a boompole. A C stand, and a boompole holder. And lavs are incredible.

[@the_black_douglas9041]

Excellent work, as always, Luc! As an editor for 33 years, nothing makes me sadder than being handed ropey audio and expected to magically make it sound good. I would like a dollar for every time a young producer has doubted my advice that audio was bad and sent the Executive Producer in to have words…claiming the wrong track was used, blah blah blah. Editors are paid to take the blame on days like that. I digress… what I wanted to add is that for solo shooters nowadays a great development is something called 32-bit float, which is an audio acquisition codec akin to RAW in video. If you accidentally set record levels too high or low the recording is fully recoverable. Also, re: timecode workflows for indy/budget solo shooters - the Tentacle steals the limelight but ATOMOS and ZOOM have an excellent bluetooth timecode ecosystem as well. The ATOMx SYNC module plugs onto the back of a NINJA V and generates TC which can then be received via a bluetooth on other cams with the ATOMx SYNC and ZOOM audio recorders with bluetooth. I use mine with the ZOOM F6, which has 6 XLR inputs and 32-bit float. It’s easy to set up and almost set and forget! Some people don’t want the bulk of external recoders like ATOMOS and fair enough. It works beautifully for me. One other thing, LUMIX cameras have that hotshoe dual XLR adapter and pre-amp thing, like the SONY one. I’ve got one and it’s brilliant. Keep up the great content Luc!!!

[@LucForsyth]

Oh man, I always feel for editors given bad audio…the struggle is real!

[@JAmediaUK]

Don't always blame the sound man! I worked as sound recently on a small indie shoot where no one understood sound. They thought it was all about the camera. I just had to turn up and wing it after the camera ghosted me on email when I asked about time-code. (I was using a Zoom F4 for this shoot with G3s and a boom) I had to guess at the kit needed. Indeed, when I asked the Director what he needed for audio, I was sent the story boards!! So no time code and no on-set cadence for sound-camera-slate-action.... (and no time for any technical rehearsals for sound etc.... ) I pity the poor editor who has to manually link all the audio to the video as the slate was out of focus the half dozen times I saw it in the monitor.

[@the_black_douglas9041]

@@JAmediaUK I NEVER blame the sound man. I love sound men. The problem is fewer and fewer budgets seem to stretch to sound men and the results show…

[@JAmediaUK]

@@the_black_douglas9041 I once saw a newly qualified student with a Black magic Cinema Camera, an expensive tripod and a good lens doing some filming for a friend. A presentation at a local beauty shop. The student did the audio by turning on the voice memo on their smartphone and leaving it on the counter near the person speaking..... Even a reasonable entry level pro shotgun (RODE NTG1? ) would have cost a fraction of any one of the other components. What are they teaching them in film school/University these days? Fortunately, like Luc, most of my work is documentary and journalism. So I have to understand both video and Audio (and have the kit for it.).

[@rickymcc8624]

Hi Luc, great advice. I love your channel and subscribed a few months back. Agree audio is key. I'm a newbie starting to teach myself video, but have about 40 years experience shooting stills (from way back in the film days). I bought a Sennheiser MKH 416 and. Mix pre 6ii. Also tried some other kit. DJI mike (good but not absolute top quality) also records internally and for many might be a good 2 channel system. I later bought a more mid-range Sony diversity system (uhf not 2.4k) that does indeed go into the Sony hot-shoe. Pretty good, but even better going into a Sound Devices MixPre 6ii. I'm exploring timecode and bought 3 Deity TC1 boxes. I'm saving for the highly rated Sanken cos-11D lavs but really need to consolidate my kit spurges with time to practice and gain real skills. My biggest issue is finding time to learn and practice. So much to do and learn - which is why I'm now a fan of your channel. I'm just an amateur 'dabbler'. If I learnt one thing so far .... It's a mistake to cheap out on budget gear if (but only if) your budget can stretch higher. I wasted so much time, cash, effort buying sub par kit only to eventually buy 'pro level' robust gear later. I lost a load of time effort selling on kit I outgrew on eBay. Nowadays I tend to hold back and buy only when I'm sure it's right for me. Luckily I can afford to buy pretty decent kit, my constraint is time to learn how to use effectively. I don't want to be the sad g** with 'all the gear and no idea. So I'm committed to personal learning, projects, practice, feedback and more practice. Best thing I learnt so far is that the concept, idea or story is king. All else is subservient to the idea or story. Great production value for a boring or rubbish story is a water of effort save the experience to learn from the shortfalls.

[@JWS1968]

I'm an enthusiast filmmaker. It's just a hobby for me but I try to make the highest quality video and sound I can. Just not at any cost. I'm on a low budget but I will spend if I need to. I use a Panasonic S5 mark 2 with a kit lens and for my sound I have a "Comica VM20". It's a cardioid mic with a built in battery and per-amp. It was £115 off Amazon I use two Fulaim X5 systems one for the mic to camera and another for the camera to headphone, so no cables. The mic is in a fully enclosed blimp. My audio sounds great. I used to have a much more expensive set-up with audio recorders and a Sennheiser ME66 mic and I'll be honest it doesn't sound any worse since I down graded. This cheap mic sounds great.

[@zwheels654]

I would go so far to say you should buy audio gear before you buy a camera. When you’re learning, your phone is good enough and audio gear doesn’t go out of date the way cameras do. Plus, you can always rent a basic camera package for a couple hundred bucks.

[@LucForsyth]

Yeah, the longevity of audio gear is huge. You’re right though, learning audio early is a great investment

[@zwheels654]

@@LucForsyth I've had several friends ask me how to get started as a filmmaker, and I always recommend a tripod and a very basic audio kit. Then, maybe a cheap 5-in-1 reflector kit. I tell them to make a few projects with their phone and that kit, then they've "earned" some lights. After they've made some videos they're proud of, they can earn a nice used camera with a kit lens. I always felt like that was the best way forward because most try filmmaking and quit when they realize how hard it is. At least this way, they only invested in a couple hundred dollars worth of gear. And if they decide to keep going, that gear can grow with them and they'll know how to spend their money in ways that actually fit their shooting style.

[@dcfanforlife533]

I did this, don't do this.

[@zwheels654]

@@dcfanforlife533 So did I actually. It worked for me, but I wouldn't say it's for everyone. It's very hard to start this way because there's little margin for error to make a cell phone video look good. But, I think that made me a better filmmaker in the long run.

[@babsbarry7042]

@@zwheels654 I love your advice. I don't have access to any funding but I see a future in film making. I currently shoot, edit and produce short dramas on my phone. And I can resonate with your system as a method to grow gradually.

[@gordonarmour4048]

I really enjoy using the Rode GO 2, with the Rode GO Lavs. You get two transmitters that internally record and are able to do 32 bit float, and the signal is sent to one receiver. It’s pretty affordable for the whole kit, I think it’s around $400. It’s both a internal recorder and wireless system. The only negative is that it’s not super rugged, but I think for most things it does just the trick.

[@LucForsyth]

I've heard good things!

[@rastafari79]

The Rode Go II is great, the downside is it does record only 24 bit, not 32 bit float in reality i think. You can export the recorded files in 32 bit float, but the recording itself is only in 24. if that makes sense? But 24 bit should be enough, and compared to the tentacles you can monitor the sound as they‘re transmitting as well. But yeah, real 32 bit and they‘d be the absolute perfect solution i think!

[@berlin03030]

wait is that set up only for lav mics?

[@itamareyal9356]

I would love to see how do you pack all of it so it's nice and functional as a cinematographer. Thank you for the videos!

[@ChasWG]

Just found your channel. interesting... And I'm glad you come right out and say the thing everyone tries to get around, "If you can afford it, hire a sound person." Someone like me. I've been doing video production for 30 years and have spent most of that time doing production sound for TV shows, News, Sporting events, corporate video, independent movies... basically you pay me me in American dollars and I'm there. I have a few things I won't do, but basically, that's how I have made a living for the past 30 years. The gear has changed a lot since I spent $10K and bought my first audio package. Over the years, the gear has just gotten better and better. And some things are pretty darn cool these days. My current gear is incredibly solid and basically what it is that producers want to see in a kit for their shows. Sound Devices mixer/recorders and Lectrosonics wireless systems, Sanken COS-11D mics and Sanken, Sennheiser or Schoeps boom mics, K-Tek boom poles... But I also spice in a few things here and there that you mentioned. I use the G3/4 systems as scratch track hops as well as having the Sennheiser IFB packs so the producer can listen in. I also use the Tentacle E Sync Lockit boxes. having four of those is handy on those bigger, multi camera shoots. And I have one of the Track E recorders. They are a perfect solution for when you need to have critical audio, but just can't reach with a wireless system or need to just keep rolling and cant always be around. They are super cool and often a life saver for those unique situations. I love using them when the need arises and then you look like a hero to the producer because you have the solution. And if you've had the Track E for a while, check in on Tentclesync.com for the latest firmware up dates on these boxes. The latest firmware for the Track E solves several annoying issues they have had in the past.

[@TeddyRumble]

Plus, you can hire a guy with a boom, a few wireless lavs and/or personal data recorders, a good recorder (I have a prosumer Sound Devices MixPre 6). Sound guys often are not that expensive.

[@Olleetheowl]

I find my “go to” system includes a Tascam X8. For mics, and the D.J.I.mic for out of the way personal sound. Both very good and very reliable. Good quality mics are essential

[@acalvillo35]

Another good/cheaper option for internal recorders is the Tascam DR-10L. It saved my life in a situation where I was picking up frequencies with my Rode Go mic during Radio Row for the Super Bowl last year.

[@TeddyRumble]

Yeah the Tascam is my go-to now for recording with lavs. Set it and forget it. The DR 10L pro now has 32 bit float, which means no more clipping, and you can monitor the feed using an app on your phone.

[@teacherofteachers1239]

Audio is so important that I recommend that a person budget for two ways to capture audio, if at all possible. For example, if on a budget, a short shotgun that can go directly into the camera's 1/8 input (I have a Deity, I think it's the V-Mic D3 Pro), and also a simple lav recorder (like the Tascam DR-10L), and use both at the same time. This is especially useful for solo operators who will not have a second person monitoring sound. I've graduated to other gear, but these were how I got started myself, and I still use them sometimes.

[@rickymcc8624]

Hi Luc, great advice. I'm a newbie but decided I needed to take sound seriously so bought the definitive Sennheiser MKH 416. Also have Sony's dual channel lav set-up and an XLR transmitter too for a wireless shotgun. However before getting a lot of this I bought DJI's twin lav mike pack. That's Uber compact and permits internal recording too. Probably best if a good lav is added as the bare transmitter mike (all in one) units are bulky by conventional lav norms. I have a cable for timecode on back order for my FX3 with a view to running more complex takes to my MixPre and several Deity TC-1 boxes. I probably spent more on sound kit than on my FX3, but as you say sound is vital to a quality end result. Just need to practice and improve now.

[@TeddyRumble]

I will tell you the Rode NTG3 is just as good as the Sennheiser, and half the cost. HOWEVER...if you interview inside, get a good pencil condenser mic. I like the affordable AT 4053b.

[@IdeaStudioBKK]

i bought good audio gear when i started years ago and still use most of it. I’ve changed cameras multiple times since. the investment in audio has amazing roi.

[@LucForsyth]

💯 - exactly!

[@TeddyRumble]

​@@LucForsythmics never go out of style. Same technology for decades, really.

[@christiandacosta]

Wireless lavs with backup internal recording has become mainstream. Having the best of both worlds is game changer.

[@DAMON409]

I think the easiest way but takes more time is to record the audio seperately for narrative stuff. Matching it to visual is pretty easy.

[@TeddyRumble]

Rode NTG3. I've used mine for 10 years, still sounds great.

[@nymlessblackbean3522]

That Gimbal comment really was directed at me! 😂😂😂

[@rudibasabasi]

a complete video right here. crystal clear.

[@DeyanIlievDoctora]

DjiMic 2 has 32bit float plus 2 channels and it’s relatively budgeted compared to high end

[@TeddyRumble]

Tascam DR 10L pro is better, imo.

[@timdanyo898]

I've got the Sony dual tranmitter/reciever and just got the the DJI recorder/tranmitter/receiver. So on the FX3 I should be able to record and monitor 4 channels while two of those are recording in the separate transmitter DJI units, but I wouldn't;t have access to the shotgun. so it would be 3 wireless and one shotgun. :-) I love that FX3 handle!

[@LucForsyth]

same!

[@psysword]

Awesome awesome and a life saver into sound recording. Going to shoot soon so needed this. thanks so much.

[@davidbrohede]

Thanks for yet another valuable video! May I ask you to turn down the background music though, I find I have a hard time following your words when this runs in the background. Otherwise, great work as always!

[@TryingBrian]

Using 2 sets of dji wireless mics and pluralyeyes to sync in post to pretty good effect. Not as rugged or versatile as 4 tentacle syncs but a fait bit cheaper.

[@LucForsyth]

Nice, that sounds like a great setup!

[@bm1113]

Nice video because I film a lot of engine noise, so I always have Shotgun microphones on my cameras. My first was a Röde videomic pro in 2012. And today also have a Röde VideoMic Pro + and for days with bad weather or as travel setup I have the Panasonic FZ300 with a Röde VideoMicro because you always want to avoid wind noise. Then it is good to have a cheaper setup to switch to 😀 But I have also noticed that if the sound conditions are good for engine noise, I can use a shotgun microphone to hear the sound of a ship 500 meters away. or as in my latest video, put the sound on the drone clips when a Steam Locomotive passes us and I'm standing next to the drone pilot Also interesting to hear about internaly recorders it's probably the only system that could work for me if I'm going to have people and machines in the same video This looks like a Nice channel so I will check out more what you have Greetings from North Sweden

[@waynosfotoscameras]

If you are using mics outside, the 'best mic' might not be the 'best mic'. Different mics are more or less sensitive to wind noise. Make sure the mic doesn't respond to wind easily, even with a dead cat. The video mic pro, by rode, is basically useless outside in wind, whilst their smaller video mic is good for wind with the dead cat. A cheaper mic sometimes is better for the application.

[@TeddyRumble]

Set the lowpass filter so wind noise isn't as much of a problem. And my Rode NTG3 with a Rycote windmuff works great for me. You can also use a blimp.

[@JayWona]

You need to know your signal to noise / noise sensitivity of the microphone

[@MyJeanf]

i remember messing the audio on my first doc on 2 interviews and had to drive hour to re-do the interview. I now own a Zoom F4, a Rode NTG 3, Rode wireless Go And The Sony MDR 7506. I now feel i have good enough audio gear to get decent audio . Its now up to me to do my job when filming. I now plan to get the ZoomF2 which will allow me to record direct from my lav mic jut incase the wireless Go mics won't work

[@LucForsyth]

Sounds like a great setup, sorry you had to learn that the hard way! But we've all been there...

[@TeddyRumble]

Love my NTG3! Indoors, I use the AT 4053b. I love that mic!!!

[@gooddayswithmohanbilaye]

Just got notification from You tube algo. Good one 👍

[@hansklabanz]

The Best Lav mics you can get for under 400€ are The DJI Mic 2 with a Lav. You allways have a backup recorded inhouse, you can receive 2x audio sources with only 1 receiver and you have 32Bit Floating audio which means no clipping possible

[@PeteMeets]

Fantastic video! Exactly what I was looking for while prepping as a one-man-band for a shoot with 3 subjects. Tentacle sync looks legit - gonna research what the workflow looks like with an A7C + premiere. Best feature: 32 bit audio - makes my DJI mics seem irrelevant now.

[@nycvideoauditions]

Great video! Thanks, Luc!

[@LucForsyth]

You’re welcome!

[@alaeifR]

Sennheiser MKH 416 P48 second-hand. Immortal classic. Instead of headphones to monitor levels, get a Zoom F3 which does 32-bit float recordings. You can always fix the gain in post if you have this (or Sound Devices MixPre II-series). Decent bang for buck lav-wise is Rode Go II.

[@TeddyRumble]

I am ALWAYS going to use headphones (cans, they used to call them). I would not feel comfortable w/o them.

[@ejgleske]

You can't always fix the gain in post if you record it poorly. The Zoom F3 can record distorted audio that can't be fixed - but if you have cans, you'll know to fix it during production. Also, for this particular video, it would have been better sounding on an MKH-50. Supercardiod would have eliminated much of that background noise.

[@benjrickard]

I feel like I would add a good boom pole in there as well for some sit down interviews.. Something from K tech with an internal cable.

[@LucForsyth]

Yeah, good call. I use Ktec booms myself. Maybe another video is called for!

[@TeddyRumble]

Get a carbon fibre pole!!! Save your arms! I have two Gitzo poles withexternal cables. Much cheaper, and cables can be easily replaced. I use Canare cables.

[@ThomasCristofoletti]

Another good option would be a set of Rode wireless go 2 - that will give you one receiver + 2 transmitters. They both have internal recording and you can split the signal into 2 channels

[@manoasky]

Do you happen to know how the 2 channels can be synced?

[@ThomasCristofoletti]

@@manoasky not sure I understand your question.

[@LucForsyth]

Nice…is that what you’re using right now Thomas?

[@ryt-is]

I can attest that those Rode Wireless Go 2 are life changing. I’ve picked up a set myself a couple of weeks ago. Before I had a wired lav I would need to route under my shirt every time I wanted to make a quick video, and I had it plugged in to Zoom H4n, which is extremely bulky and wouldn’t fit in any pocked, so I would just carry it around. And then syncing it up in post was just another unnecessary step. Now with wireless I just clip a transmitter to my pocket and I’m good to go in 2 seconds, that really helps with capturing those spontaneous ideas. However when I tried to connect the Rode receiver directly to H4n ext mic port it would record some screeching interference (EMI from wireless probably?), but that’s a rare use case for me

[@ThomasCristofoletti]

@@LucForsyth yah. And I’m quite happy about it. The internal recording option already saved my ass in a couple of occasions.

[@PNWMOTION]

Been recording everything with TASCAM DR-10L and zoom H5N pro. Studio work plug shotgun into Scarlett solo and record into logic. After having so many issues with the wireless systems I switched to external. For example had a groom with a wireless system on and he had put it in his pocket with his cell phone and went to edit and found a random buzz every view seconds I could not get rid of. Maybe I'm just dumb but that was the final straw with wireless packs. Haven't had a problem ever since.

[@LucForsyth]

Yeah, I hear ya! When they work they’re great, when they don’t it’s a nightmare!

[@waynosfotos]

Note, with a stand alone recorder most have a headset plug, so it can be plugged into a radio transmitter for audio monitoring. Without radio drop outs recorded. For what i do a clap or a clap board is not that hard to use. Filming into camera i find far more risky and troublesome due to multiple level adjustments, leads and radio problems.

[@LucForsyth]

You're right, it's usually better to go external, but some clients don't want the extra step in post.

[@babsbarry7042]

Thank you Luc! I'm now entirely sold on how getting great sound from shoots can greatly increase the quality of my work! The next gear I'll be looking to get is.... you guessed it... sound gear!!! Do you have any recommendations for sound systems for mobile filming? I'd appreciate your suggestions! And you sound absolutely awesome!

[@LucForsyth]

Thanks! Though my editor deserves a lot of credit for post work because I live right beside a very busy road. By sound system do you mean a mixer?

[@TeddyRumble]

Here's a good basic kit: Zoom H6, Rode NTG3 shotgun, Gitzo boompole, Canare cables, Tascam 10L personal data recorder with lavs, some Bumblebee lav holders, some Roycote undercover and stickies, closed back headphones (I use Audio Tecnica or Sony). A C stand to hold the boompole as well for one man band setups. TBH, you can eliminate the boompole and shotgun if you are doing sitdown interviews. A lav with an alligator clip on the shirt is great. Just make sure no clothing rustle.

[@ejgleske]

MKH416 for outdoors, MKH50, record on Sound Devices MixPre (various models based on number of inputs needed). Headphones - I prefer Beyer 770 or 990; don't use the Sony 7506 just because everyone else does - you'll wear your ears out. AT headphone's aren't bad. Haven't used a lav for an interview in so many years... Toss in a stand, boom pole, cables, etc. But the key is to save your pennies and get good stuff sooner rather than later. Yes, you can record usable audio with a $200 mic. What you should be aiming for is superb audio, not just usable, because any story you're telling ain't worth much without the sound. (Unless you're filming silent movies.) Better audio will make your work better, faster, than getting a spiffy 4k camera with prime lenses. I mean, the BBC has done pretty well with audio-only programming for over 100 years...!

[@TeddyRumble]

@@ejgleske Solid advice. I have AT headphones, love them, can wear them all day. My Sonys fell apart in a couple of years. Here's another tip: have backups for everything. I have a Sound devices MixPre 6, but stuff in a Zoom H6 Pro just in case. I had a Marantz recorder years ago that failed twice on set. Sent it out to be repaired first time, second time, threw it away. Luckily, the camera operator had a Zoom in his trunk, otherwise, the entire day would have been ruined, I would have been fired, and my reputation completely done for.

[@babsbarry7042]

@@TeddyRumble Glad the camera operator came through with that save. Thank you for the great tip.

[@JoshTrachtman]

I love internal recorders when I'm working alone, especially since DaVinci's auto-sync is so good (I have Tescams not Tenticles so unfortunately no timecode). if it is important and need to monitor sometimes I'll attach cheap wireless sets from aliexpress and run the monitoring cable from the recorder to the wireless, that way I can internal record and monitor audio at the same time. Works like a charm.

[@TeddyRumble]

The new Tascam 10L pro has timecode. And it can be monitored via an app. Big improvement

[@owenwagnerphotography]

Very helpful, thank you!

[@Maros_Mari]

Great video as usual Luc, thank you for your insights. I made my audio decisions based on the fact that I needed to move / travel a lot, and had a certain budget limits so opted for Sennheiser mke600 /internal battery option/ as shotgun and rode wireless go ii set - can record 2 separate channels internally. In my opinion this is a great starting point - as I can get decent interview from mke600 with zoom h5 and use wireless go with lav mic to get higher quality sound without need to maintain constant contact. I am eyeing though Sennheiser 416 in the near future.

[@LucForsyth]

Nice! I like my 600 a lot, it’s great and super compact

[@ibrahimvisuals6745]

So much info! Much appreciated

[@LucForsyth]

You’re very welcome!

[@rockybproduction9038]

Yea I used to have 2 sennheiser AVX but they sadly got stolen and I didn’t have the budget for more so I downgraded to the rode wireless go. I recently invested in some BP-TRX packs and now looking for a good shotgun mic

[@LucForsyth]

Ah man, sorry to hear that - never fun

[@TeddyRumble]

The AT 897 is the classic less expensive shotgun with good sound. I like the Rode NTG3, but it's more expensive.

[@OffTheBeatenPot]

Another banger! I use the rode wireless go 2 system which allows recording. My audio friend said imagine that you footage dropped out in the cinema. Could the story still be heard?

[@LucForsyth]

Nice, never tried those but I hear good things!

[@OffTheBeatenPot]

@@LucForsyth it’s what I can afford. If I had the budget I’d strap a guy called Andy to my set up and let him deal with it.

[@asmrnaturopath]

Thanks for this Luc 🙏🏾

[@johnclay7644]

informative 15mins on audio.

[@12yfilms]

Always love your advice! Thank you!

[@LucForsyth]

You’re very welcome!

[@burgosbrand]

I simply came here for a recommendation on a shotgun mic, this guy made me want to shoot a documentary. Great video!

[@TeddyRumble]

Outside: Rode NTG3. Inside, AT 4053b.

[@gssg2010]

I, also, use my Sennheiser MKE 600 for video meetings. I no longer need earphones or pods during the meeting. Talk about point and... listen!

[@LucForsyth]

Super useful mic!

[@mediaflmcreation]

3:09 ... that's me skipping the Nucleus Nano 2 kit I've skipped like 5 times. It's my damn nemesis! Been in my save for later area for 6 months

[@zhinoos100]

hey thank you so much for this useful video , i want to ask you if you recommend Boya Mics brand ??

[@martinwoodfilms]

Great video! I have the 416 and cos11d as well 👌

[@LucForsyth]

Amazing combination!

[@rickbiessman6084]

The Sennheiser MKH 416 is such a flippin awesome microphone. I have been playing and mixing music both live and in the studio for well over 10 years (not professionally, but still pretty dedicated), so I feel like can comment on audio equipment. Yes, it’s expensive, but ironically, the less experienced someone is in the audio realm, the more they will benefit from a good sounding mic. The MKH 416 is WELL worth the money in my opinion. The Rode NTG2 comes surprisingly close in sound quality, but like I said: a better mic is going to make the end result so much better, and a videographer is never going to develop the audio post production skills to tune in details that would elevate a lesser mic to the level of a truly professional shotgun mic. Just like a sound engineer isn’t going to learn color grading on a professional level, because that’s simply not their focus. So do yourselves a favor, guys. Listen to Luc, get good mics. You’ll thank yourselves later!

[@TeddyRumble]

The Rode NTG3 is designed to be 95% as good as the Sennheiser, at half the cost. I love my Rode.

[@rickbiessman6084]

@@TeddyRumble From the samples I've heard, 95% as good sounds about right.

[@waynosfotos]

The rode video mic pro i am somewhat disappointed with this mic. That is because it is a wind magent. I use a deadcat and foam. It still picks up wind. I now rarely use it as it is windy where i live. I love using a tascam DR-05 which is a seperate recorder. It gives amazing sound for its price, but you need to sync the sound in post. I generally don't plug into the camera these days just set a number of recorders and then sync in post.

[@LucForsyth]

Yeah, it's not perfect. But good considering the price. the $999 sennheiser is much better, but you get what you pay for and wanted to give options at all price points

[@Julian_Kurt]

You can upgrade the tentacles to Bluetooth by using a Bluetooth adapter. You just plug it into the headphone jack on the tangible and connect your headphones to the Bluetooth adapter. Cheap (under 60€) and super reliable

[@KungLiGaming]

You can easily synchronize multiple audio tracks in Adobe Premiere without timecode, simply by two-click analysing your footage.

[@LucForsyth]

Great tip…in my experience it doesn’t always work as well as time code, but it can be a good starting place

[@JaywalkingTheWorld]

Thanks for this great example of a short film with bad audio. What the hell is a music bed doing there the whole way through the clip? Lesson One: don't put on music bed why are you don't need it.

[@quoran0327]

I’m a little bit overwhelmed, I consider buying Zoom field recorder H1n and Sennheiser MKE 600. I just want to make short cinematic films for KZbin, do you think it’s enough? I’ll probably get later LAV mics, but after I buy some lighting

[@TeddyRumble]

Spring for the Zoom H6. It's amazing for the price. That mic is fine, but consider the AT897. Get excellent cables. I like Canare, from B&H. For lavs, consider a Tascam DR 10L. Comes with a lav, set and forget. I've done a wired lav into the camera, what a pain!

[@quoran0327]

@@TeddyRumble Thank you very much!

[@JROSS1998]

Is MKE 600 able be used with iPhone?? As shotgun mic??

[@stevenfilmco-8567]

Audio is more my field 32 bit float great makes it easy......

[@LucForsyth]

it's the best!

[@yanns559]

1. Get a stereo mic for your cam, stereo is not a luxury for everything aside 3 second commercials. 2. If there are more than one person behind the camera, hire a sound operator.

[@Slipsch]

There's the DJI mic but you need to use specific lav mic.

[@LucForsyth]

Good to know!

[@cnihon5894]

Another great video, cheers! Rapidly becoming one of my favourite KZbin channels. I'm a die-hard Tentacle Track-E user and there is an option for bluetooth monitoring with recent firmware updates. You can also directly monitor by plugging a set of headphones into the recorder - this only works with units sold outside the US as there's an active patent preventing manufactures from including this feature. There are a few mini 32-bit float recorders out there, but the Tentacle TRACK Es still seems to have the best noise floor of the bunch. I feed Sanken COS 11Ds into mine and the resulting tracks require minimal processing. These units have saved my arse a dozen times or more. I HATE to use this phrase, but it has been a game changer for me and my team. Simple works best. A note from Tentacle Track E page about wireless monitoring: "Since TRACK E firmware version 2.0.3 you are able to wirelessly monitor TRACK audio during recording with the Setup App on your smartphone via Bluetooth." tentaclesync.zendesk.com/hc/en-us/articles/4419659776529-How-does-the-TRACK-E-audio-monitoring-with-the-Setup-App-work-

[@LucForsyth]

These are great tips, thanks man!

[@Meraki.Melodies]

Thank you for such a nice review. Also could you please suggest an excellent Shotgun mic for Solo Documentary Filmmaking please. How did you connect the XLR mic on a Mirror Less camera?

[@TeddyRumble]

Adaptor. Easy to find. Better to use a audio recorder. Zoom H6 is very good. Or Panasonic makes a sound unit that attaches to the camera's hot shoe.

[@kubaantonin5694]

Panasonic has a 2x xlr top module 😁

[@TeddyRumble]

Yes, I hear it's pretty good, and others have a similar setup.

[@htkiek]

Thanks for your amazing work always. Would you recommend the NTG3 or MKE600?

[@LucForsyth]

hmmm...probbaly the NTG3, though it depends if the size matters. The MKE 600 is shorter and probably better for a mirrorless set up if you want to keep it small. Sound on the NTG3 is slightly better

[@htkiek]

@@LucForsyth thank you! How do you feel about the NTG5? Or have you never worked with that mic?

[@TeddyRumble]

​@@htkiekGet the NTG3. Mine is still going 10 years later, and I live the sound.

[@iPhone-Cinematograhy]

Very helpful...

[@Brian-Hansen]

Good audio gear is indeed the path to happiness as a videographer.

[@LucForsyth]

Yes, 💯!

[@bunkertons]

I've never met a DP who considers audio necessary. 😂 Seriously though, I know I'm working with an amatute when they don't even consider it. One piece of advice I always suggest to newbs and pros alike is 32 bit float.

[@donaldbarnes2649]

Thoughts on the fn8 pro? Specifically having to edit audio in post because of its 32-bit default?

[@TeddyRumble]

People will forgive bad video. They will never forgive bad audio.

[@michaeldelacruz6370]

Just get a sound guy. You'd make a good friend and it would probably be cheaper than buying all the equipment you would actually need.

[@LucForsyth]

I don't disagree!

[@scottievee330]

I recently shot a promo for a show. The Industrial building we shot in was an A+ visually. It was a working power generating plant. A constant background noise. Audio was rough. It made my life hell. We have access to the building whenever we want it but that hum noise. Question, if you jam audio do you need to keep all the cameras on? If you need to shut them down for a few... do I need to jam everything again? Thanks.

[@LucForsyth]

Ugh, the nightmare scenario! With TC boxes they should be powered independently so they’ll run regardless of whether or not the camera is on

[@anaphael]

I just saw a 90degree xlr adapter? May i ask where you got that from. Im searching for a few days now, and only found one for 300bugs. Or is that a cable with one 90degree end?

[@LucForsyth]

It’s just a short xlr cable with 90 degree end

[@ABM-mz5pb]

Hi Luc, how do you feel about the wireless DJI Mic as a lav mic? It has two transmitters and is super-convenient, but is the audio good enough for a pro documentary?

[@LucForsyth]

I’ve never used them personally, but they seem good. I’d say replacing their mic with something like a sanken cos-11 would help a lot

[@ABM-mz5pb]

@@LucForsyth Thanks Luc, I'll check that out :-)

[@levit8]

They don’t have time code so can be limiting for the future

[@Jadesfishing]

Great video Luc I use a tascam dr 10L for my Lav. I don’t have time code so I can see what you mean by it being had to sync In post lol

[@TeddyRumble]

​@@JadesfishingThe new 10L pro has timecode.

[@angelrafaellanc]

You. Are. The. Sh*t!!! Thank you for this

[@LucForsyth]

Thank you 👊🏻

[@rumorscameras]

what about the new lark max they record internal on sd,,,so maybe we shd start skipping sony and sennheiser wireless

[@janfaed6602]

What do you think about the Sennheiser AVX-ME2 ? I am considering it over the Sennheiser Pro Audio EW 112P G4.

[@LucForsyth]

I had an issue with the AVX because of the slight latency via Bluetooth. The delay made monitoring pretty weird so I got rid of it and use the G3s instead. Personally they don’t work for me, but let me know if you have a different experience!

[@mikoajzeman3]

What do you think about rode wireless go 2, with a fancy lav mic?

[@Maros_Mari]

I got this setup - though not sure what is fancy lav - I got Lav+ from rode and they work well - one important point - you cannot adjust gain on receivers so need Lav thats not too hot - good to check youtube videos about the setup. in my opinion they sound good and are lightweight and budget friendly.

[@LucForsyth]

I’m sure it would work great. Have some friends using these and they seem to like it!

[@EnclaveDesigns]

How about the VM30?

[@rodzikprovideo]

You can monitor all sound via app.

[@LucForsyth]

Yep, it works, but it's just more stuff to deal with - much easier to monitor in camera IMO

[@tirtharaja1384]

what do you think about Rode Go 2?

[@charleshoughton]

weird question: if i have two camera's next to each other, can I use a 3.5 splitter to send common Timecode signals into both, thus saving me an extra TC-1 expense?

[@LucForsyth]

Hmmm, that’s a good question! I have no idea unfortunately - anyone out there know?

[@darkphotographer]

when i was shooting interview , i got a small olympus voice recorder , not the graterst sound recorder but last wery long and is cheap 30-50euro , i think i ill get a second one or zoom h1 ,

[@LucForsyth]

Nice one!

[@TeddyRumble]

If you can afford it, the Zoom H6 is great.

[@darkphotographer]

@@TeddyRumble yee is grate but is also 350euro ,,, well for the same price you can get a laptop and quad or octa chanel audio interface , not as portable , but you can do much more with thows ,, i went that route ,

[@TeddyRumble]

@@darkphotographer Hey, if it works, great! I'm a sound guy, and have about $4-5,000 in gear, which most people can't or don't want to afford.

[@darkphotographer]

@@TeddyRumble having good gear is all well and good , but what happen when some idiot brake the cable of your expensive lav mic , try to tell him or her he you broke a 200$ pice of gear ,,, some will not iven pay for the 5$ xlr ,,,

[@Kennygshoots]

Currently looking into the xlr handle options for my a7siii. I have a zoom h5 and a sennheiser mic but then it needs a cloud litter and that would be too much to rig up on my smallrig cage. Unless it’s doable? Any tips?

[@TeddyRumble]

Panasonic and others has a XLR audio unit that attaches to the hot shoe and is supposed to be pretty good. That would solve your problem.

[@Scriptshepherd]

Do you think plugging one of your recommended mics into the Mini XLRs on the Blackmagic Pocket 6k would be capable of sufficient audio? Or is it more advisable to get an external recorder like a Zoom F3?

[@TeddyRumble]

The external recorder is always better. Much better preamps.

[@juliareynes7243]

Have you ever had audio ruined by lav rustles when using the Tentacle E ? That would be my worst fear when using external recorders that I can’t monitor while shooting.

[@LucForsyth]

Not yet, but to be honest when I’m doing multiple lavs on people without a sound person I just take extra care when attaching the mic and then accept that it’s slightly out of my control! You also CAN monitor them through the app, it’s just not as convenient as with normal transmitter system. But at some point if you’re all alone running multiple audio tracks there are going to be some trade offs. At the end of the day, even with a bit of rustle having the audio is so much better than having nothing.

[@TeddyRumble]

Here's my suggestion: Get a Bumblebee concealer. You put your lav into this little plastic thing, the tape it to the talent, on chest or on clothes. They make different ones for different lavs. Or alligator clip if mic can be seen. The Bumblebee keeps the lav away from clothes. Is it foolproof? No. Does it work really well? Yes. Also, Rycote has stickies to stick the Bumblebee to skin or clothes. PLUS, you might be able to use a boompole out of frame. No clothing noise!!!

[@GabrielAlbaAudioVisual]

The ntg3 link is the same as the MKE 600

[@LucForsyth]

whoops! Thanks!

[@monobomodular6413]

found that a rode lav2 sounds better than the mk sennheiser on female. maybe it s just my eq skilld, any one knows why its easier to eq a lav on female, the shotgun didnt sound natural

[@philderp3326]

2:36. What is that viewfinder system you have?

[@LucForsyth]

It’s a small HD 502 ultrabright with a wooden camera monitor arm

[@rumorscameras]

can you help me. i have fx6, i am planning 2 boom 8050s and i need wireless lav 2 sets. how do you suggest i record it into the fx6 or something like the soom f6

[@TeddyRumble]

Here's my suggestion. Get one or two Tascam DR 10L pro personal data recorder with the Bluetooth adapter. You wire it up just like a wireless, but it records internally. You can monitor the signal on your phone with an app.

[@AustinWestbro]

I don’t get the need for a time code system when you can just automatically sync audio by their waveforms

[@TeddyRumble]

Pros use timecode. Makes editing easier.

[@florianropers]

11:37 - You can actually monitor the audio on the Tentacle Track Es. They enabled it during a firmware update. On the topic: kzbin.info/www/bejne/Z5e5oJhtp8-Ibc0

[@LucForsyth]

Yes! It’s still not as convenient as headphones in the camera, but it’s great they’re doing this

[@charleshoughton]

Can I jam sync the Track-e to my deity tc-1 timecode generators?

[@LucForsyth]

That’s an interesting question - I’m not sure actually. I think in theory it should work but probably depends on the proprietary systems from each company. Let me know if you find out!

[@JDD-MEDIA]

How did you know? I had a gimbal in my Amazon cart for ages ? 😂😂😂

[@Sam-em1ic]

Has anyone here had experience using the rode ntg 5 and sennheiser mkh 416? Would like to know if you found them similar enough that it’s worth saving the extra $ and getting the rode, or if I should go the buy once cry once route with the sennheiser

[@LucForsyth]

I’ve used an NTG3 and the 416 both for years, and the 416 is better but mostly noticeable in a side by side comparison. Since audio gear almost never goes out of date, if you can afford it I’d still go with the 416 though. If you’re planning for the long term there’s no reason you couldn’t use it for 10 years or more and on that timeline you’ll forget about the price difference pretty quickly. That said, if you’re pressed for cash I think you’d also be very happy with the rode and should t feel like you have to get the more expensive mic just to tell great stories. Hope that helps!

[@Sam-em1ic]

@@LucForsyth Thanks that's good to know. The difference could basically get me a COS-11D for lav so I think overall that might be the best route as its just for one project. Thanks!

[@TeddyRumble]

​@@LucForsythI can afford either and my Rode NTG3 has never let me down. On a film, you'll never hear the difference.

[@andrew_nayes]

There are lots of high pitched squeaks throughout the video, sounding almost like new shoes on the basketball court, if you get the sound I'm referring to. For example, around 11:07 just before you say "think", 11:15 right before you say "twenty person", at 11:20 right at the jump cut, etc etc. Very distracting and annoying (and, ironic for a video about sound?)

[@rumorscameras]

but the audio is better into recorders . why spend money on mics then use camera audio

[@TeddyRumble]

Yes!!!