I also recently had the opportunity to test the Sound Shark Parabolic Microphone in a typical classroom setting. I found that it really helped to get that louder volume from the distant speaker when compared to other microphones that I would have traditionally used.
Now while a Parabolic microphone will definitely pick up distant sounds better than any other type of microphone, it should not be considered a replacement for other microphone types. It really should be considered a different type of microphone and possibly one you may want to add to your audio kit. If you're interested in listening to other examples, you can find videos on their website at http://KloverProducts.com/SoundShark.
The unique shape of the parabolic collector is used to collect incoming sound (pressure) waves and focus them onto a single point where the microphone converts the collected sound energy into an electrical signal. Because the sound energy from a large area is focused onto a single point, the sound is in effect, amplified. This is the same technology that is used to capture the sounds of the game during professional football games every weekend.
People have been using CFAST to SSD Adapters for the Ursa Mini cameras ever since the beginning, and i've used the ATOCH adapter myself. It sure comes in handy, but what I didn't like was all of the loose cabling and the extra bulk. So whenever possible I just stuck to CFASt cards. It kept my rig light and tight.
Now BlackMagic Design has introduced their own SSD Recorder (only for Ursa Mini Pro), that connects between the camera and the battery plate. It's much cleaner with only two wires that record from the SDI input and output, but it does have it's caveats. For one, the BM SSD Recorder only works with the 'Pro' version as it records from the SDI. When using the SSD Recorder, you can't connect the camera to an ATEM for live production. With only one SSD drive, it also can't record 4.6K Lossless RAW at 60p (only supported to 30p).
That's what makes this new aftermarket 'DUAL SSD Recorder' very interesting. It works very much the same as other CFAST to SSD adapters, but it's been designed to fit clean behind the battery plate (exactly like Blackmagic's design). The advantage is that because they are still using the CFAST adapters, you can record full RAW, full resolution, and all at the fastest framerates. In fact because this adapter uses (2) SSD Drives, you can even turn on 'Dual Card Mode'! And there's no bias for Ursa Mini Pro cameras, it is backwards compatible to any Ursa Mini camera - and you'll still be able to use the SDI out if you're hooking up to an ATEM.
There's not much to complain about this aftermarket Ursa Mini SSD Recorder except for the fact that you won't be able to close the LCD screen completely with the CFAST cabling running through. But that's about the only con I can think of...
In this video, i'm running through some of the features you'll find with the new Cinevate HoriZen video slider. Out of the box the slider can be used directly on any flat surface, and includes non-marring small adjustable feet for minor leveling adjustments. If your'e looking to use it on more aggressive terrain, you can opt-in for the All Terrain Legs that add a lot more height and stability.
You can find several threaded points under the HoriZen for mounting it to tripods or stands. The slider is trapped between the Aluminum frame, so you can use the slider completely inverted. The Variable Magnetic Braking feature is by far a true game changer when it comes to video sliders. Through opposing magnetic forces similar to brakes on an Electric Super Train it's an ingenious feature with zero friction and zero wear.
I've never worked with a smoother video slider, and the ability to fine tune a 'drag feel' according to the weight of your rig or to your preference is pretty amazing. Perfect for heavier camera setups, but can be tuned to the same feel for smaller lightweight camera systems. Along the sides of the slider are sliding threaded mounts for you to add cine-arms or other accessories.
Integrated 100mm bowl center mount with 75mm option
Tripod center mount and integrated c-stand mounts
Carriage locks anywhere on the rails via the precision disc brake system
Fully integrated caged flywheel
Fully anodized solid CNC machined 60-61 aluminum
Stainless steel fasteners eliminates corrosion conerns
Positive lock washer/tiedown (includes both Imperial and Metric tiedowns)
Quick-Stow All Terrain Legs
Fluidic Drag Control
Kevlar reinforced belt
Versatile accessory track mounting system
Enhanced camera sled stability profile
Integrated bubble level
3FT Weights 16LBS
The Boltzen Snap Kit is a quick magnetic mount for adding light modifiers or colored filters (gels). It's a simple way to change your small CAME-TV Daylight Boltzen Fresnels to Tungsten or use it to add a splash of color from the dozens of choices in the kit.
Aputure has finally announced it is officially shipping the new Light Storm LS-C300D LED Video Light. So expect them to be available at retailers soon (if not already). This light was shown at NAB 2017, and has been one of the most anticipated lights in their lineup. Larger and more powerful than their LS-COB120D, some of the benefits to this design is the Single Point Source Light which is easier to shape, and does not display multiple shadows (like many light panels will). It also uses a popular bowens mount to attach a variety of accessories and light modfiers.
Aputure claims to have close to a 2K output, and when you compare this to other popular brands, the new Aputure 300D is less than 1/3rd the price. With a 97+ high CRI rating, remote control, and the ability to power off dual V-Mount batteries without being tethered to a wall outlet, this seems like a great light to have for any type of video shooter. The new Aputure 300D is available now on the Aputure website (found here).
If you have a set of led lights (or other battery powered device) that you want to turn on and off from a distance, here's a simple idea using an inexpensive set of Wireless Remote Control 12V DC Relays. To keep things fairly universal I decided to make an 'inline' cable that has a male and female D-Tap connection to work with my V-Mount batteries. (This way I don't need to modify any of my accessories). But while i'm using this with my v-mount batteries, you can actually use any 12V-14V battery and any cable connector to fit the connector on your device.
These specific mini wireless remote DC relays can handle up to 10A sustained which is the same max rating most V-Mount batteries are spec'd for. Which basically means if you can power your accessory from a D-tap, these relays should work fine. My setup here is simple, and it's merely just cutting the battery current, so this hack won't let you dim or change color temp, but it's universal enough to be used for powering anything on or off including motors, LCD screens, Wireless Video Transmitters, etc.
Speed and versatility are the calling cards of Sony’s latest, the Cyber-shot DSC-RX10 IV Digital Camera. Using an updated 20.1MP 1" Exmor RS BSI CMOS sensor and BIONZ X processor, shooters can enjoy 24 fps continuous shooting, as well as UHD 4K and High Frame Rate HD video. Further boosting speed is the Fast Hybrid AF with 315 phase-detect points that can lock on in just 0.03 of a second. Also, operation is intuitive, with the implementation of a touchscreen LCD alongside the OLED EVF. And, of course, it stars a 24-600mm equivalent 25x Zeiss Vario-Sonnar T* lens that covers a vast range of subject matter. Read more >>
I like the look of slow motion with the GH5, so I wanted to try shooting an entire real estate demo in 50% speed. For this I used the 4K / 48fps VFR setting (conformed to 24p) on the Panasonic GH5.
Now because of the 48fps setting, I needed to set my shutter speed to around 1/100th to reduce too much motion blur. Finally when working with an F/4 Lens (Panasonic 7-14mm), this also cuts down on the amount of incoming light, so I needed to work with a minimum of ISO 1600.
To control noise, I shot the entire video in 4K and exported to 1080. By downscaling you can mask noise. Also I shot in CinelikeD and exposed to the right (slightly over exposed), which means bringing the exposure down in post and that helps to clean up any noise in the shadows.