When most people think of a wedding, the visuals come to mind. The ceremony, the reception hall, being surrounded by friends and family, and of course the beautiful white dress.
In Part 2 of our series of videos about audio for DSLR video, we take a look at how various XLR microphones (handheld dynamics, lavaliers, shotguns and small-diaphragm condensers) can be used to improve the audio quality of your DSLR video productions.
The original Rode VideoMic has been one of the most popular on-camera microphones in video production for several years. It greatly improves the sound-quality of a camera, making it one of the best options for video shooters who need to upgrade their sound on a budget.
In this first part of a two-part series, Mia McCormick, of Kelby Media, walks through the basics of putting together a cinematic gear kit for those of you who want to create compelling movie magic on a budget. Capturing sound and images is paramount to filmmaking, of course, so this episode focuses on the camera and audio equipment you might choose.
When it comes to production sound for film or an original series, quality audio capture is imperative. Bad audio can ruin the experience for everyday viewers and critics alike. In this article, we’ll discuss the elements of an effective and ultra-portable sound recording rig.
Trending topics on Twitter change rapidly from one minute to the next, but in the world of electronics manufacturing, trends evolve slowly, often taking an entire calendar year to surface. Here at B&H, we’re among the first to get our hands on the latest professional and consumer equipment, and we’re always looking for new trends in the products.
When it comes to image quality, HDSLRs offer videographers some highly desirable aesthetic characteristics. However, issues like automatic gain and loud autofocus motors have given these types of cameras a poor reputation for in-camera audio.
Way back—five years ago—if you shot video, you used a video camera, and if you shot photographs, you used a still camera. Today, that distinction is all but meaningless. Almost every video camera today captures stills, and virtually every still camera now shoots video.
This B&H video examines a few quick and affordable ways to improve the in-camera audio on "run-and-gun" style, single-operator shoots using camera mountable mics. These mics usually plug directly into the camera's 3.5mm external mic input and mount on your HDSLR accessory shoe.
Sennheiser has just announced the new MKE 600, a shotgun microphone that clearly captures sound sources from short distances. The new MKE 600 is the most affordable XLR-based shotgun microphone that Sennheiser has ever offered, but its lower price doesn’t detract from its abilities as a high grade production tool.
Shotgun microphones are used to capture sounds such as dialog in film and video productions, for “spot” miking specific areas on sets, stages and installations, and for creating Foley and sound effects.
It’s common to see equipment made by Shure being used on professional television and film shoots. Even though this company’s presence in the “audio for video” market never faded, recent announcements have given a new energy to Shure’s line of ENG and EFP gear.
A shotgun is a long, cylindrical microphone that excels at picking up sounds in front of it, while rejecting sounds to the sides and rear. Shotguns are designed to have a narrower focus than an average microphone.
The audio capabilities on HDSLRs are relatively limited and in many situations will produce unusable sound. Professional users have to contend with a range of issues, such as low quality built-in mics and automatic gain control. Thankfully, there are workarounds for a wide spectrum of uses and budgets.
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When most people think of a wedding, the visuals come to mind. The ceremony, the reception hall, being surrounded by friends and family, and of course the beautiful white dress.
In Part 2 of our series of videos about audio for DSLR video, we take a look at how various XLR microphones (handheld dynamics, lavaliers, shotguns and small-diaphragm condensers) can be used to improve the audio quality of your DSLR video productions.
The original Rode VideoMic has been one of the most popular on-camera microphones in video production for several years. It greatly improves the sound-quality of a camera, making it one of the best options for video shooters who need to upgrade their sound on a budget.
In this first part of a two-part series, Mia McCormick, of Kelby Media, walks through the basics of putting together a cinematic gear kit for those of you who want to create compelling movie magic on a budget. Capturing sound and images is paramount to filmmaking, of course, so this episode focuses on the camera and audio equipment you might choose.
When it comes to production sound for film or an original series, quality audio capture is imperative. Bad audio can ruin the experience for everyday viewers and critics alike. In this article, we’ll discuss the elements of an effective and ultra-portable sound recording rig.
Trending topics on Twitter change rapidly from one minute to the next, but in the world of electronics manufacturing, trends evolve slowly, often taking an entire calendar year to surface. Here at B&H, we’re among the first to get our hands on the latest professional and consumer equipment, and we’re always looking for new trends in the products.
When it comes to image quality, HDSLRs offer videographers some highly desirable aesthetic characteristics. However, issues like automatic gain and loud autofocus motors have given these types of cameras a poor reputation for in-camera audio.
Way back—five years ago—if you shot video, you used a video camera, and if you shot photographs, you used a still camera. Today, that distinction is all but meaningless. Almost every video camera today captures stills, and virtually every still camera now shoots video.
This B&H video examines a few quick and affordable ways to improve the in-camera audio on "run-and-gun" style, single-operator shoots using camera mountable mics. These mics usually plug directly into the camera's 3.5mm external mic input and mount on your HDSLR accessory shoe.
Sennheiser has just announced the new MKE 600, a shotgun microphone that clearly captures sound sources from short distances. The new MKE 600 is the most affordable XLR-based shotgun microphone that Sennheiser has ever offered, but its lower price doesn’t detract from its abilities as a high grade production tool.
Shotgun microphones are used to capture sounds such as dialog in film and video productions, for “spot” miking specific areas on sets, stages and installations, and for creating Foley and sound effects. 
It’s common to see equipment made by Shure being used on professional television and film shoots. Even though this company’s presence in the “audio for video” market never faded, recent announcements have given a new energy to Shure’s line of ENG and EFP gear. 
A shotgun is a long, cylindrical microphone that excels at picking up sounds in front of it, while rejecting sounds to the sides and rear. Shotguns are designed to have a narrower focus than an average microphone. 
The audio capabilities on HDSLRs are relatively limited and in many situations will produce unusable sound. Professional users have to contend with a range of issues, such as low quality built-in mics and automatic gain control. Thankfully, there are workarounds for a wide spectrum of uses and budgets.
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