Been looking around for the last few weeks at the various wireless options which are priced significantly below the RodeLink, there are a surprisingly large number of them!! :-o

Unfortunately many of these ones are no good, but on the upside it appears wireless has taken great strides forward (all 5 of these wireless sets mentioned are only roughly a year old or less on the market), and I've narrowed it down to four which are cheaper than the RodeLink yet look appealing from what I can gather (here they are listed from cheapest to priciest):

Boya BY-WM6 vs Azden PRO-XD vs Saramonic UwMic10 vs Audio-Technica ATW-1701L

Boya BY-WM6

Is the cheapest of the four by far at only US$140 with free shipping. It uses the 584 MHz-608 MHz frequency range. Includes an XLR output cable. Runs on two AA batteries with a claimed run time of 8hrs. Comes with a portable case for the set. RX has a headphone jack.

http://www.ebay.com/itm/For-Boya-BY-WM6-Lavalier-Wireless-Microphone-System-For-ENG-EFP-Canon-Sony-DSLR-/282001404702

Azden PRO-XD

Second cheapest of the three at US$199 with free shipping. Uses 2.4GHz wireless. Uses an internal battery (can't swap it out.... hmmm... a downside! But on the upside, it is the slimmest of the four, which is a bonus for a wireless system). Battery life is meant to be an impressive 16hrs (with a 3hr recharge time). Has a headphone jack on the RX. Internal batteries are rechargeable over USB (can see this being useful for bag use, to keep all the RX units charged up from a USB power pack. However careful battery management during the shoot will be needed with the TX units)

http://www.ebay.com/itm/Azden-PRO-XD-2-4-GHz-Digital-Wireless-Lavalier-System-/171940834701 http://www.4kshooters.net/2015/11/11/azden-pro-xd-new-budget-digital-wireless-microphone-system/ http://cheesycam.com/azden-pro-xd-2-4-ghz-wireless-lavalier-microphone-system-just-199/ http://www.learnlightandsound.com/blog/2015/10/26/good-budget-wireless-lavalier-azden-pro-xd

Saramonic UwMic10

If you squint they look almost the same as the Sony UWP-D11 sets! (it even has an XLR TX option like Sony does with the Sony UWP-D16. Which I am really looking forward to using on the boom pole, to get rid of the cable)

But the Saramonic UwMic10 costs half the amount of a Sony UWP-D11. As it is US$270 plus taxes/shipping to NZ (which does then significantly increase its cost, unfortunately). http://www.saramonicusa.com/products/saramonic-uwmic10-digital-uhf-wireless-lavalier-microphone-system-with-bodypack-tx-and-portable-rx http://www.dslrfilmnoob.com/2016/02/28/saramonic-uwmic10-dual-body-pack-2-channel-receiver-now-out/ http://www.dslrfilmnoob.com/2016/02/15/saramonic-uwmic10-dual-channel-uhf-wireless-system-review/ https://lensvid.com/gear/saramonic-uwmic10-uhf-wireless-lav-review/

The Saramonic is I think the system I'd like to go for, but once the final cost is worked out it ends up pushing up uncomfortable close to the RodeLink to really truly be a "cheaper option than a RodeLink" by a significant margin. Plus it is such a new item to the market that none of Adorama/B&H/Amazon.com are selling it, maybe I should revisit this item in a couple of months time and see if this has changed.

Audio-Technica ATW-1701L

Cheapest price now is $330.79: http://www.bhphotovideo.com/c/product/1060929-REG/audio_technica_atw_1701_l_system_10_digtal_wireless.html

But it was merely US$220 at Adorama only a month ago: http://dealnews.com/Audio-Technica-Camera-Mount-Microphone-System-for-220-free-shipping/1618268.html

I think that the current prices for the ATW-1701L are just a little too high right now, as it puts it too close in price to a RodeLink, so not much savings there. But if ever see it at that sale price then I'll buy one (two even!) in a heartbeat! http://soundandpicture.com/2014/12/audio-technica-system-10-camera-mount-wireless-review/

Well, I think this now is complete survey of the "good options" which are cheaper than a RodeLink. I've surely left out a few other possibly interesting options, and feel free to point out anything important I've left out, but what I'm left wondering now... is which of these four should I pull the trigger on and buy? Open to any thoughts on my options!

Price: about $250

Available at:

• http://www.ebay.com/sch/i.html?_trksid=p5197.m570.l1313&_nkw=Stereo+VideoMic+Pro&_sacat=0 (ebay is cheaper)
• http://www.amazon.com/Rode-Stereo-VideoMic-Camera-Micrphone/dp/B007HYVMY0/

More info: http://www.rodemic.com/mics/stereovideomicpro

This is the latest one from the summit of Doi Pha Hom Pok, Thailand's 2nd-highest mountain, followed by a pleasant descent along the National Park's nature trail.

Shot with a DJI OSMO + Rode VideoMicro, and a Sony RX100 mk1, edited in VEGAS Pro. It was the first outing with the VideoMicro and I am very impressed, although it can be a bit limiting for dialog as it is so directional.

I would appreciate any feedback.

I'm not wanting to buy a Zoom I don't think and I would like price to be reasonable and the ability to get to lavs into one system if possible.

This film was shot entirely on a Sony A7s II with no lights, tripod or crew, just me as director - DP. For my day job, I work with full size crews and camera packages (Alexa, Red, etc) for TV and commercials. But this project, took place in the bush of one of the poorest countries on Earth. The entire camera / sound package had to fit in a small back back and never leave my sight. For sound I used a Rode Video Mic Pro for almost everything and a Sennheiser G3 kit for interviews. For glass, I used a Canon 24-105 and a Rokinon 20mm Cine as well as a full set of Tiffen White Water 77mm Filters and BW Polarizer.

Initially, I ran with a Movcam cage and top handle as well with Wooden Camera handgrips and an F&V Spectra 4.3" on board monitor. But after a few hours, I realized the paramilitary look of the camera attracted too much attention and undermined my subject's candidness, I stripped it down to just the camera body, metabones E mount adaptor, lens and Rode Mic and used the camera's EVF or LCD. It's amazing how a small change in gear, changes people's behavior around you. If I came in with a proper "pro" rig, I would've been mobbed at every turn.

For settings, I tried the EOS Pro Settings. Big mistake. Contrasty and red. Fail for sunny conditions and skin tones. You'll can easily see which shots used that. I then switched back to my reliable Cine 4 settings with black level pushed up, magenta down, sharpness all the way down, etc. Despite the settings mistake, it was definitely a blast and a learning experience.

Post was done on FCPX. With the latest updates, I find this to be the best doc editing software out there. Took me a while to make the switch but once I figured out the language, it saves me at least 30 % more time over Premier or Avid. Transcoded A7s II 4k footage to Pro Rez LT to cut and finish on.

Anyway, enjoy the film.

I'm considering upgrading from a GH2, mainly due to the slightly better audio abilities of the GH4 (headphone jack, 3.5mm input). I shoot a tonne of interviews so it would come in handy. I've just got a few questions about the GH4 which I'm finding difficult to find answers on...

FYI: the audio devices I'll be using with the GH4 are the Rode Video Mic Pro or a Sennheiser wireless lapel mic (e3 kit).

1. Is it possible to adjust audio levels via a function button or some kind of PHYSICAL button on the camera?
2. If not, is the touch screen audio level adjustment actually useable during shooting or is it very fiddly?
3. Assuming I buy a GH4 that doesn't have the buzzing issue, is the audio quality acceptable?
4. Are there any random quirks to the audio of the GH4 I should know about?
5. Does the GH4 have any issues like the GH2 where the audio levels change slightly once the 'record' button is pressed?
6. How is the audio level meter? Is it accurate / helpful etc...?

I'd be keen to hear from anyone shooting and recording audio with the GH4 and get their feedback and opinions. It'd be great to ditch the Zoom H4n recorder that I use with the GH2.

Cheers!

Any feedback would be great! This film asks the question, "If a corporation can have rights, why not an ecosystem?" And we're documenting the collision between the free market and democracy, out of which the rights of nature has been born...so in a way, capitalism could be creating its own death.

After some reasearch I found out I am not alone. H4n seems to have a cheap PreAmp and NTG-2 low recording level too. At the moment my bugdet is low too so what would be best to improve the situation? Buy a new affordable mic? A preamp like Rode D Power Plug or TritonAudio FatHead? It should be a portable, battery powered and able to be handled easily by one person (the one with the boom)

Thanks for sharing your experience.

The mic features a matched pair of ½” true-condenser capsules, configured in a stacked X-Y configuration, providing a highly-immersive soundscape. Each capsule is supported by the Rycote® Lyre® shock-mounting system, providing isolation from vibration as well as knocks and bumps.

Digital switching on the rear of the SVMX allows the user to control the level adjustment (-10dB or +20dB), high-pass filter (0/75/150Hz) and an innovative high-frequency boost (+6dB @ XHz) designed to boost the intelligibility of dialogue.

In a first for the VideoMic range, professional-grade balanced outputs are available on the side of the body, in addition to the RF shielded 3.5mm stereo output cable.

Thanks!

I´ve just now stumbled upon the Rode RodeLink Wireless Lav system.

In their specs they state a digital transmission of 44,1KHz which seem about 44,1KHz too low for serious usage. I can´t even find a specification on this on Sennheisers EW G3 series.

Could anyone enlighten me on what is going on there?

Thanks very much!

Patrick

Would Rode Reporter + H4N or H6 be a good combination?

Would the H4N suffice or would I get significantly better sound using the H6?

Would it be a professional audio quality or for what one has to go to reach ideal sound?

Or should I got for another portable audio recorder?

I'm selling a few things, all in very good condition. I have a Rode NTG-2 microphone that I'm selling for $150. That includes free shipping and comes with the foam wind screen and the Rode soft carry case. I also have 2 Pentax Lenses that I would say are perfect, but because I'm not a lens expert I'll just call them "very good". I used them briefly but decided to stick with my 28mm & 50mm Lomo lenses for the particular look I'm going for on my next project. I don't see any problems at all with the glass, and the images looked perfectly clean when I used them on my GH2. I'm selling them each for $100. That includes free shipping, as well as a free Pentax to m43 adapter, so these are ready to use once you receive them. They both have front and rear caps, as well as a clear screw on filter for protection. If you want to buy the 2 lenses I can offer them both for $180.

I keep all my gear properly stored in Pelican cases, and will also be very carefully wrapping and packing these before I ship them to you.

Thanks, Matt

This is my latest short film. Shot on a GH3 with Canon EF L Primes (from my 60D days) and a manual aperture adapter (wish the new speedbooster was out earlier, and wish the GH3 had the focus peaking feature like the GH4 does).

I like the Vivid setting in the GH3, the blacks look good after grading. This wasn't aimed as a cinema production, instead TV with a slight filmic quality!

Few things I would of changed, would have lost the massive DOF to one of my interviews. Broke my lens hood on the Canon 100mm f2.8 IS lens and found I had some casting/refraction on certain shots without it.

Shot by: Kirk Gaydon Panasonic GH3 Canon EF L 24mm Canon EF L 50mm Canon EF L 100mm (IS not usable)

Panasonic GH3 Settings: MOV 72Mbps Vivid -5, -5, -3, -3 1080p50 PAL Shutter 1/100 (on track) 1080p25 PAL Shutter 1/50 (interviews)

Audio: Rode VideoMic Pro

Any thoughs or questions, just ask.

http://www.ixymic.com/

The RØDE iXY is the ultimate recording microphone for iPhone® or iPad®. With up to 24-bit/96k* recording and on-board high-fidelity A/D conversion, your iXY recordings are rich, smooth and accurate. At the heart of the iXY is a matched pair of ½” cardioid condenser capsules, fixed in a perfect 90 degree ‘near-coincident’ alignment. This results in immersive and true-to-life stereo recordings, captured in incredibly high detail. The iXY is supplied with a foam windshield for outdoor recording as well as a reinforced protective zip case to ensure your iXY is available whenever you need it.

Get Rode Boompole, get the Blimp, mount your mike and you are set.

I suggest to use ebay, as many sellers sell it for less than retail pricing :-)

http://www.ebay.com/sch/i.html?_trksid=p5197.m570.l1313&_nkw=rode%20blimp&_sacat=0&_clu=2&_fcid=168&_localstpos&_stpos&gbr=1

Like $199 :

http://www.ebay.com/itm/Rode-BLIMP-Complete-Winscreen-Mounting-System-for-Rode-NTG-Shotgun-Mics-L-K-/251099806564

Despite claims about demo units, usually they are fully packed and never opened. Seems to be method to overcome retail price controls :-)

https://www.reelhouse.org/stonekeyfilms/dyrafjordur

Specs:

Lightweight Design At only 2.6 ounces,
the VideoMic GO is ideal for run-and-gun HDSLR recording without the additional weight of larger on-camera microphone options.

Integrated Rycote Lyre Shock Mount
Constructed from a single piece of hard-wearing thermoplastic, the Lyre provides superior acoustic suspension to traditional elastic solutions, and won't wear out, sag, snap, or require any rethreading to maintain its effectiveness.

No Battery Needed
The VideoMic Go does not require batteries for operation, but instead uses the plug-in power supplied via your camera's 3.5mm microphone input. Simply plug in, and you're ready to record.

• Foam windshield
• Integrated shoe mount with 3/8" thread
• 3.5mm TRS mini-jack audio output connection
• $99 price

Available at:

• http://www.bhphotovideo.com/c/product/1012003-REG/rode_videomic_go_videomic_go_on_camera_shotgun.html

Thinking about improving audio with my GH2. Originally I thought that for low-budget, okay, cheap (just a hobby for me), that the Rode Videomic would be a nice option.

Then I start reading here about audio recorders, and take a look at the Zoom H1. Seems pretty neat, and cheaper than the Videomic!

Now I wonder, why would anyone choose the Videomic over the H1, for a budget option? If I understand things correctly, the H1 offers more capability. You could mount it on the camera and run line-in to camera AND have headphone monitoring (with a splitter), or you could take it off the camera altogether for interviews, or attach a separate mic to it like a lav mic. Am I correct? Am I missing something?

Rode VMP and wireless ew112 with 1-19 sets in GH3

This plus an iTouch looks like a much better solution that those 3D mics floating around for me. Love the concept. @PhillipBloom adds his usual high standards of reviewing to the launch video.

http://www.rodemic.com/news/new-rode-i16-offer-360-surround-recording-for-ios-devices

1. It was done with a 10 year old Canon EF 300mm f2.8 L series lens, which back focuses a bit, but otherwise seems great.
2. Working with near teens is like herding cats, although these two maintained great focus for about 40 mins

The sound was from a Rode NT1A on Fisk boom, this is a technique I've not used before, it does allow for quick relocations.

I won't make some big marketing push for why mine would be better than anybody else's - in the last decade and a half of working with software FX I've learned there are a lots of ways to make things sound great. I also won't make any money off of this so there would be no point. :) But I do want to make it as easy as possible for people that aren't used to dealing with EQ to get a good sound.

Now here's the part where you come in. The tricky part of making presets is that they have to be widely usable. I'll be making these on a Windows machine (I spend more time in Windows than OS X) so whatever plug-in I make them for will need to work in that environment. I am thinking I would like to use the free ReaPlugs suite from Cockos, but my question is whether people would prefer that I use those or the ones native to Reaper itself?

If I use the ones internal to Reaper, then I seem to remember they may also work on OS X. But if I use the ReaPlugs suite, they will work in any host but Windows only.

Here are the links to each: http://www.reaper.fm/ http://www.reaper.fm/reaplugs/index.php

So, which version would you guys prefer? Feel free to suggest other free plug-ins or other microphones you would like covered. I'm open to doing the same thing for the GH3 if there's sufficient interest.

For example, there is a rumour going around that Sennheiser MKH 416 has been the "industry standard" throughout 70s and 80s (and even 90s) in many Hollywood films. Is this true? If yes, which films? Please mention them. I would love to listen to those films.

There is another rumour that Rode NTG-3 (and even NTG-2) is being used in film productions. If you KNOW this to be the case, then,please, list the movies that use NTG-3. (and I don't mean movies made for Vimeo, or amateur movies that don't stand the chance of being accepted into any decent festival)

If there are other microphones that you know of, please add them to this list and please mention which movies they were used in. Movies from any decade are welcome. (like, I'd love to know what mics were used in Taxi Driver, The Godfather, Network, Blowout, Reservoir Dogs, Pulp Fiction etc)

http://www.rodemic.com/news/announcing-the-videomic-hd-the-worlds-first-digital-recorder-video-microphone