Unfortunately charging while recording is something that I can't recommend in particular with this bag setup. The problem is the regulator noise in particular of the Wireless Go system, but the Deity does also introduce noise on the audio lines when you charge it via USB C. So If your really want to have recording while charging you would separate the grounds. Of course this is depending on the USB power bank you use. But in general this is a nice bag setup if you remove the wireless headphones and deal with the latency.
Really great comment. It didn't occur to me that the power bank could intro noise and I don't have experience with the Go wireless system first hand so really great info. Pinned.
I had one of those laptop power banks which I had Jerry rigged to run my old bag before I went to NP1. Introduced a 12k tone and a little harmonic. In fairness you couldn’t really hear it but it looked horrible on the spectrogram in RX. Was easy to remove though. Still, I have shame over that particular period.
I've never had that issue with either of the power banks I've used. Now you have me wondering. Might be worth buying a couple and see if I can identify the source and find a quick fix. Do you have a model number I could look up? Also, perhaps give me some details like if it was right against the recorder or RX.
Damn. We had a gaffer that did that once in our shoot. Of course we were working over hours, but we had to wake him up every time we were going to film another take.
At the beginning of this video I was extremely worried with how Allen was going to react, not because of any specific reason but because I know he is very passionate about audio and my interaction with other knowledgeable audio people tends to be a very negative experience if you do something wrong (or do something not wrong but not the way they do it). I was very happy with the tone of the video overall and how when he didn't like something he explained it in detail so we could learn from it AND provided solutions for both budget and professional uses (I hate when somebody tells me to spend $500 on my $300 audio setup to fix a "problem"). Kudos Allen for being awesome and showing TH-cam that you can be a professional in the field and react to a video without just making it a negative attack piece. Stay awesome!
@@SoundSpeeds I do remember you being more critical in that one, I'm glad to see you're able to recognize that you're improving, that's a great quality in a content creator to be able to make those kinds of adjustments to improve your content while also educating your audience, it's an extremely hard balance to maintain especially on the subject of audio so I commend you for doing such a great job! Thanks Allen for continuing to improve yourself which benefits your audience in the process. I will probably never use 90% of the things I learn on your channel but it's one of those things that's good to know and you make it enjoyable to learn the subject so it doesn't feel like a chore or a poor use of my time. 👍
Thank you. In fairness, I don't set out looking to rage - my goal is to be educational and informative. In Caleb's video, he had clearly thought thru everything and that made it easy to out everything in perspective. In Indy Mogul's video, everything was cringe worthy and there was no relief. It was a terrible comparison and not at all fair.
I thought the same things, it is clever. But honestly if it’s used mainly for sit down interviews then why not simply run a cable to the boom? It would avoid some of the issues you mentioned and improve quality. He could use the Rode go to send guide tracks to the camera and monitor with wired headset at the camera.
He could, yeah. The thumbnail would be clickbait then (if he used any cables) and I think he's liking the idea of having sound in his ear but not having to think about it unless he has to.
Awesome video. You and curtis are such a blessing in the community. Sound is very critical part of a film. I wished I already knew both of you when I was at filmschool. To be honest I learned more about sound with your contents than filmschool. 🤣 Anyways keep up the good work.. Thank you for the wonderful content.
Thank you. Yeah, film school was a major disappointment for me. I did pay good money to watch Citizen Kane a bunch of times and write papers about it though
@Sound Speeds Thank you for chiming in on this wireless bag concept. I noticed you mentioned that his road wireless headphone solution is better than the alternative idea of a Bluetooth headphones set up, but isn’t the road wireless Bluetooth? Is there a significant difference that makes it better?
Unfortunately having the tx near the D3 Pro is actually pretty bad too. I tried that setup before as a shotgun plant and the D3 Pro actually picks up a lot of rf noise.
I’m a camera guy, but one this I made sure to invest in early on was a sound, sound package, and I carry it with me on set all the time even when directing. Interestingly the sound department always find something useful in me trunk when on set… more priority has to be given to sound by the camera department… imo
That's good to hear. That's a rare thing though. Most camera departments are friendly but live in a bubble. Now with remote geared heads it's more difficult than ever to get accurate, real time info about a shot.
@@SoundSpeeds I think the biggest issue is that DoPs that don’t edit will never see the frastrations of bad syncs, signal breaks, mixed levels, contamination, interference, handling noise fixes, noise… once you have had an important shoot with unsalvageable audio you will appreciate those super heroes called sound engineers +++. Casing point is when I watch TH-cam great audio means I don’t need to pay attention to the video.
preach this is a great video. It really bothers me when people throw sound to the last priority when even they know how important it is! makes no sense, great tutorials for someone getting into this industry
I agree. Sound will destroy a low budget project quicker than picture will. I'm glad this rang true to you. Thanks for watching. I have an entire playlist for reaction videos and more coming soon.
I built out 75% of what Caleb created and my head dropped as I heard you. But felt better listening to the last 5 mins of the video. Your reactions has giving me ideas of things to improve and strive to get better at, thank you.
Absolutely. He put together a bag that will work for most viewers. For pro use, it won't work. If I can be of any assistance to you as you are putting together your bag, feel free to reach out.
That’s mostly because he didn’t give him a chance to explain himself before crapping on his idea. That’s the nature of any react video though. Probably could have been a bit less snarky in certain areas but to each his own. All that RF interference is no joke though. I tried some similar stuff out and while it might work as you’re running around checking levels if you’re a solo shooter I would probably still switch back over to wired during the recording for the headphones just to reduce a point of failure and not have the nagging latency.
I started off hard on him because the video didn't start off well. Over the course of time, as the video progressed, it started making more sense. Most of his audio related videos aren't impressive and don't make sense by the end except to him. I wish he'd stop making audio videos.
@@SoundSpeeds Haha. You’re not totally wrong. I have watched him for a few years. I think he could benefit from doing some collabs and having some audio engineers on as guests occasionally His channel is tailored for budget solo shooters. I’m sure you would probably accept some critiquing from video shooters if you tried to randomly try and talk about cinematography techniques too. This is the first time I have watched your channel and seeing that some people in the comments have come from Curtis Judd’s channel I will start watching more. I have been watching the URSA channel a lot lately to learn more about how to lav correctly and your video came up in the feed. Best of luck.
Thanks for coming around to check out the channel. And yes, I know many camera guys but my ongoing joke is that my picture looks like crap but my sound is always great. :-)
Hello, is it ok to ask for some reccomendation here? if not, please feel free to ignore me :) After watching the original video you reacted to, I was starting to get some ideas on how to improve my audio recording and your video helped increase my understanding on this subject. If you have a look at my channel, I film videos in very crowded/messy/small locations where is difficult to even setup a tripod for a camera sometime. And with a lot of background noise too (mostly Aircon and traffic). Usually I am using Rode Wireless GO II mics attached to the arms of therapists but they catch really a lot of the background noise. Is there any better equipment to use? could a field recorded be better? or directional mics? If it's a wireless solution, maybe I could be able to sometime use some small extra tripods for the mics. If you have any suggestions, even very generic ones, please let me know :) Thanks anyway!
If you use the Rode Go II, your audio will sound better if you use the audio it records versus the audio it transmits and record separately. If you're using the audio recorded by the Go II, great! Microphone placement is very important in noisy environments. Get the microphone as close as you can to talent's mouth and if it's a noisy background, tell them to speak up a bit. If it looks noisy in the background, higher background noise will be forgiven. Signal to noise ratio is key so try to get your signal louder over the background noise.
Finally got back & finished this one - and apparently I got myself a bonus hint for MDR comfort enhancement. Need to check that at once - while my ears have gotten used to that set already, more comfort would certainly be welcome. Those headphones really were a bit squishy on my ears in the beginning.
Caleb's kit looks fine for run & gun, or documentary purposes. Totally understand a camera person's desire to get a sound kit as cheaply as possible. Fortunately, today you can get a lot better audio equipment for less money than even a few years ago. Not sure if someone that considers sound recording to be a disagreeable chore, would be the right person to seek advice from. Other than the MIxPre 3, and the Orca bag, I don't think the equipment would work well for other uses.
Gotta admit we love Yours and Caleb's work - subscriptions to you both. The surreal chorus of "awwww shit" ensued at the studio when we saw this thumbnail 😂 You're right though. Keep up the good work! - A sound guy that knows about cameras.
I like Caleb's work too and wanted to reach out prior to let him know not to be alarmed. It was a lot better thought out than I was expecting in the first minute.
Alan, please give us insight into your camera operating career. I come from a photography background so my first instinct when looking into a film career was a DP. Quickly realized that it’s such a saturated market and saw sound as the best market to get into for film. There’s not a lot of us and we’re a vital piece to any production. I have this dream of being a boom op in IATSE and a set photographer in ICG.
Not ideal. However, the system is inexpensive, streamlined and seems to serve his use cases. I’m sure he’s getting decent sound out of this rig. Fortunately, the things that aren’t ideal shouldn’t affect the sound being recorded as much as other weak-links in the system. Kudos on springing for the Mix Pre. The cashmere preamps are truly great! He’s proud as pie about this setup so I don’t want to shit on his sound parade. I’m a decade+ IATSE production sound mixer and a single transmitter and lavaliere in my kit cost more than this entire setup so it does make me chuckle. I do feel like these are some valid options for people who need the flexibility and mobility to fill multiple roles on set for freelance gigs though.
2:33 that orange thing. finally finally an answer. I kept seeing them and I'm like isn't that meant for just shipping I mean it could theoretically prevent some bumps and scrapes but isn't it just to keep the thing nice during shipping. I got some drillbits with those on them from the dollar store once.
That's all it's there for. Protection during shipping. You can keep it on if you want, it doesn't hurt anything, but it's kinda like leaving the plastic on a sofa.
I just discovered your video... and channel... I am now a Fan... I am new in the Video and Photography... but I am a fast learner and I have lots of Talent and Life Experience...
Saw His video and felt the same thing... couldn't agree with youre message more. The thing that annoyed me the most was when he said "audio gear is always been kind that awhh " .... "last minute thought.." Freeking cheese! sound is sooo important!!!
@@SoundSpeeds are you saying that even the pro industry youre familiar with doesnt understand or appreciate enough sound department? I mean I could expect that from idk, youtubers and content creators but broadcast? ..
@@SoundSpeeds well they simply do not understand what cinema is, or even.. just- experience is A human experience . And im a video guy first. ( 360 guy basically) but praise good sound more and more, always on post but now try to make it on set. I try to make an emphasis to bring it to the highest level I can now .
So, if you're using the same wireless system overall, do you have to worry about delay? Should the recorder be adjusted somehow for delay to account that into the timecode baked in? I use tentacles for the TC system. I have G4 ew500 lavs and I'm using the same ew500 transmitters for the shotgun, but I just got them and only got to use either the lavs or the shotgun? What do you think of the g4 ew500 system? BH staff said it's pro; guys at locationsound bashed it as prosumer. What would make it prosumer? the delay? the preamps?
It's entry level pro. Very good product. Similar to the Sony UWP wireless but lavs are wired differently. You don't need to worry about delaying the recorder unless you really want to
Hey @Sound Speeds ! I really appreciate all the info you packed into this video. I was wondering though, was the comment about the Rode Go radiation next to your head a serious concern? Would having a Bluetooth unit next to your head be less dangerous?
We only have short term test results which shows it's "safe". Decades from now we'll learn the real effect from RFI emitting technology. I've never scanned the Rode Go II personally but do know that testing is usually done in use case scenarios. I can't speak for the testing they did but IF testing while clipped onto a belt, for example, the results could fall within safe ranges for your waist but that same range may not be safe for your head. I'm not sure on it but I do see a lot of evidence that says it's inconclusive and we'll know later in retrospect. If memory serves, Rode's Go II FCC filings only showed it emitting 3.65mw of transmit power which *should* be safe but time will tell.
@@SoundSpeeds Thank you for your quick and detailed response! I appreciate the insight. Was there a reason you also didn't like the Bluetooth monitoring concept for wireless headphones? Is it also a health related worry or more of a technical problem? Thanks again
The 2.4GHz spectrum on film sets if very congested. It may be OK on corporate video shoots or small shows but since everything from Bluetooth to WiFi competes for the same 40 2MHz BLE channels and since many 2.4GHz devices frequency hop, it can change quickly and produce receiving issues. There's also potential health effect but clean transmission in the RF spectrum and latency are my biggest concerns.
Really interesting to see you react to this, since I only recently saw the '100% wireless video' from DSLR shooter. Speaking of 2.4Ghz, have you heard of the Comica BoomX-D? I was surprised by the quality of it
Speaking of the recorder, I'm doing a research and I came down to F8n pro vs Mixpre 6 (or10) ii. I'd like to hear your thoughts on these two - and others that you might think are worth it in this range (not ready for 833 money yet). I'll see if you made a video on it as well but I wanted to write before I forget. I shoot on a RED Komodo: corporate, commercials, short films - for now (with either of those recorders and ew500 none of my clients will probably give a shit, but idk I feel like striving for quality in case I meet one of those clients that really appreciates it and might help me for the next step - and unlike most I always knew that I had to take care of good sound). I would love to be able to afford higher tier stuff like lectrosonics (if I had the money I would buy for sure, I just dropped serious money on the RED, a new laptop and whatnot) but I'm thinking: let's wait a year or two before I make some money. This is why I thought that G4 ew500 were kinda in my budget range (and got a couple after researching), I got the mke600 shotgun to be able to power via battery (and some pros say that with a bit of EQ adjustment it sounds like 416 and that it's a great bang for buck purchase for pro work) and I'm thinking 1500 ish for the recorder and I'm set for a while with good Tv quality sound. Or so I understand. But again I'm asking you as a pro what you think as well.
Either will make you happy. The Zoom has more channels but the MixPre has analog limiters and 32 bit floating point if you care. Also, you can get automix and noise reduction plugins integrated if you want.
@@SoundSpeeds the F8n pro has 32 float as well. And according to Curtis and his test the floornoise is as low as a mixpre and doesn't change even with limiters.
@@SoundSpeeds Would you say that the preamps on the mixpre ii produce a better sound than f8 pro? Listening to samples it seems to me the mixpre is more crystaline/clear? Not sure how to describe that difference; probably pros would describe f8 pro as warmer?
@@SoundSpeedsYes I see what you're saying about wireless vs cables only. My point was why (if you are going wireless) add one more cable to put the transmitter at the end of the boom? That means you have a greater potential for cable noise, or other issues a bad cable/damaged cable and more of an RF interference source than just directly out of the mic to the transmitter. I agree that the system with the least points of faillure is just plain old cabled but why add a boom pole length of cable to an alreay wireless setup? Just ergnomics/balance?
I've been on the market for some not too expensive headphones so I can start monitoring and not just trust the level meter on my camera. The Sony MDR 7506 was at the top of the list but I've always resisted to purchase them because of the false leather ear pads as I've had a couple of gaming headphones in the past with the same problem - flaking. But the headphone softies would be a good fix so thx! Now the challenge to find them or a similar product in Europe :-)
Hi Sound Speeds, I love your content. But I would personally be much more critical to this guy´s setup than you were- wireless 2.4Ghz headphone setup, why ? Wireless boom, why when it can only introduce issues ? Also, the only reason to use Deity connect is a price really.
He's not a pro, he's a content creators that's using affordable gear only a few feet from talent. That's why I only corrected misinformation and didn't bash his setup compared to a pro setup.
By the way, we are eager to see the range test of a new Deity UHF digital THEOS. NOthing appeared yet. I think you would be the great person to do that. Curtis Judd remains silent, still.@@SoundSpeeds
im fighting frequencies in the 500 range, in LA the 530-600 are worthless and the best spot is 470-512. I cant even imagine fighting 2.5 g. How long does the Battery on the RODE wireless go last? Not a 12 hour day unless you just keep on turning on it off constantly.
Wow I have watched this video probably a few dozen times and it just hit me I'm putting a rig together similar to this. However, I rather not go COMPLETELY wireless, that latency will drive me wild and I don't want to interfere with my wireless system. I'll stay physically connected to my bag. Plus that way no one can just pick it up and run. I'll snag that power distribution idea tho.
@@SoundSpeeds sadly number of views, subscribers or thumbs rarely reflect actual correctness. I been working in outside broadcasting for last 20 years and it is sometimes shocking to me what these youtubers with millions of subs present as an advice or even better some "new" or "secret" tips that has actually been known in the industry for decades. To expand on the topic of this video... in sport broadcasts we just have boom pole with ME66 inside the shock mount + SKP 500 G4 directly attacked... no cables. Boom guy then has a body pack receiver with headphone plugged in. Nothing else... obviously there is a sound technician inside the truck handling the mix. It might not be ideal or good enough for movies but for broadcasting just to get some coverage on coaches it works just fine.
I hear you. TH-cam is a platform allowing everyone to says and teach anything and unfortunately, as long as you play the game they way they want, you'll do well. I understand broadcasting is a different creature too.
Is there alternative to the rode headphone for monitoring he is using, especially if you have 2 people who want hear what the other person is saying, if commentating on a livestream
Yes, you can hardline headphones with a program feed. You can transmit to individual receivers like IFBlue IFBs or less expensive models. You can use the Deity BP-TRX in IFB (IEM) mode.
@@SoundSpeeds oh no it wasn’t me but I had seen that video awhile ago, and I would have liked to have seen it get reviewed by you. I knew you’d break down every detail on the do’s and don’ts regarding it. I prefer hardwired boom to my mixer to have the reliable audio source in case wireless lavs hit interference. But you did an amazing job as always, as a fellow sound guy thank you! I look forward to these types of videos.
Thank you. I don't see a reason to not hardwire a boom if you're carrying the bag constantly but I think he goes wireless so he can ditch the bag and (likely) concentrate on the shot.
I'm game! I like Caleb and tried to reach out but don't have his contact info. He blocks DMs on Twitter and am not a fan of Tweeting the world trying to reach someone.
@@SoundSpeeds Too bad. He just did a video with some 3D printing. Seeing how much you like to customize your kit I think it would be cool for you and Caleb to work together to custom 3d print something to help boom operators.
@@SoundSpeeds Also have you considered dropping a comment on one of his YT videos? That seems like a resonably respectful way for creators to reach out on YT.
I've commented on a few of his videos when he's very wrong. He's nice but should stop talking about sound topics. He's wrong many times but presents so well, his audience is fooled. That annoys me.
I think the 2.4 Ghz systems have their own place when you are on a budget, especially when your frequency block is the wrong one for that particular location and you have no way of solving it. I do have a question about the delay you were talking about the deity system, you talked about phase issues and I'm not really educated on that topic. Could you point me into the right direction so I can learn about these phase issues? Btw thank you for the softies, I'll be getting a pair for my Sony's headphones, and thank you as well for the inside on the Riedel Systems, very informative!
And the problem is if one audio is delayed differently that another they can "interfere" with one another if you try to monitor both at the same time and that makes it harder to hear if you have any actual problems in the recording
Oh!!! Check out this video: th-cam.com/video/53mbFjIpvVY/w-d-xo.html Two audio tracks that aren't perfectly aligned will cancel each other out similar to how two mics will when close together. Post can click a button and it will match the crests and troughs of the audio tracks so they don't phase but on set, they won't do that and if the delay causes one mic to be exactly out of phase with another mov, if you bring them both up then they will cancel out the audio you care about. For that reason you want to add delay on the channel input of the hardlined mic so that the signal goes into the mixer as close as possible to the delayed wireless of the Deity. Does that make more sense?
Little off the topic, but about the prosumer wireless systems - I've trying to make a decision about buying Sony's UWP-D21 for my sony dslr (sony a7c). In this video you saying that Deity is quite good in it's class, though it is cheaper. Would you advice UWP-D21 upon Deity or vice versa? (I consider connecting Sony via multi interface shoe shoe). Thank you in advance👍
The Sony UWP series is UHF and it's far more stable in a professional environment or when farther away. Watch my BP-TRX review and your eyes will open. th-cam.com/video/RGz5ipoJsjo/w-d-xo.html
That was my experience too. The G series sounds more natural while the UWP was brighter sounding. The G uses gain and the high you take it, the more gain buy the UWP calls it attenuation and the bigger the number, the less gain. I was frustrated by the connector too. I think the two nonground pins are swapped between the two but that's speculation. A guess after trying to figure out what could be different.
hello allen I was one of these days thinking how fabulous it would be for you to make a content video about the contribution of the quality of the microphones to the final finish of the film. To give me an explanation, it would be like seeing examples of how you have used equipment that goes beyond the industry standards in your work. equipment that aims to achieve a specific aesthetic and that does not sound the same as everything that is produced in the industry.
@@SoundSpeeds Maybe deconstructing a clip or scene from P valley or Walking dead that involved important technical decisions that impacted the end result of that sequence. @Sound Speeds
No, I don't but I was a bit more tolerate of it knowing it wasn't Bluetooth. It's a clever use of the Go wireless system even though I wouldn't ever do it. I'd be concerned about RF radiation to my head. Even though it's low power... You never can tell.
Videographers don't like recording sound. They usually only tenuously understand the tools, find it a distraction from setting up camera and lighting, and are only equipped to record sound in the most opportune conditions. They will however, always try and build sound recording into the services they offer to get a leg up on other videographers. It's a race to the bottom mentality. All sound technicians would appreciate a bit more solidarity from our friends in camera. Acknowledge that sound recording is a distinct job and skillset. Insist on having a sound recordist when negotiating with clients. Make your life easier while keeping job opportunities open for others.
I don't see the big advantage of wireless here. If you are near the boom pole (holding it?) and the bag (also holding it?) why not just run cable into the MixPre and then plug in your headphones and skip points of failure (batteries and transmitters/receivers)?
That's my way of thinking but he did explain that he can ditch the bag and just run around with the boom if he wants. To each their own. I wouldn't do that though.
Oh, is it? Is he asking me to react to his own video? I know I'd be destroyed if I asked Caleb to react to my video quality. I'm sure he'd be polite and reassuring though.
@@SoundSpeeds our channel has easy videos to demolish… we are kinda hated in the “real” film community online. We have a video where we talk about “The best AUDIO STARTER KIT” it is a video about sound we have done. But there’s another one where I throw c stands off the roof and I want to see a reaction to that. Roast me!!!
Ok, fair enough. If you shoot a video asking me my thoughts on a video or two (depending on the length) and proclaim "Roast me", I'll be direct, undiplomatic and brutally honest. I'll even consider putting your video in the opening on mine.
I’m absolutely on the same front with you on the whole “ugh audio gotta do it” mentality being detrimental. Especially on student and short film sets with inexperienced directors, you’re basically left with the scraps of attention, and good luck trying to get gung ho video oriented directors to give a shit about the sound on set. Frustrating beyond belief.
@@SoundSpeeds My favourite is Parker Walbeck's channel teaching students about how to do an interview in a video, and the sound guy they have tells them to use an NTG3 in an extremely reverberant room (warehouse studio) and to position the mic with some distance rather than riding the frame line. So many things wrong with this situation...
I thought I did. I started to get a bit worked up at the beginning but after hearing him all the way thru, I even say he redeemed himself. I could have sworn this was primarily a positive thumbs up. Only a few things I wouldn't do because of the environments I am in on set but for corporate videos and his own videos... It's quite well put together. I even wrote in the description that I have a lot of respect for him.
You're right. It is. Many camera guys have crap advice which made me wary of Caleb but in the end, I couldn't fault any of it. Especially once I heard why. It's quite functional for what he's doing.
What a bizarre thing to say to someone on their channel. "...try and keep your critiques... more upbeat." Uh, why? Were your feelings hurt [by proxy]? This impulse to not only police a critique but inform the reviewer as how he should deliver it... check yourself. Wake up. Begs the question: do you know you sound like a little Brown Shirt?
Get off your high horse. He's talking about this from the perspective of a single operator or a 2 man crew. If you're a dedicated sound guy, you don't have to worry about that. In fact you can turn up to a gig with your kit pretty much set to go in 5 minutes. Sure it takes work beforehand but I just don't think you understand the demands of low budget video. I've done it all as a single operator, multiple cameras, sound, lights etc. I can tell you from experience the less you have to worry about the better. And I never treat anything as unimportant. Including audio. Caleb does a reasonable job on this vid. I don't love the wireless headphone setup. And I don't love his actual mic.
If you noticed, I was a bit more critical at the beginning but by the end I pointed out my concerns but said that, in effect, if it works for your workflow, cool.
You started well but weaken as long it continued. Why ? Caleb wants two things, to give exiting usefull suggestions but even to impress. If you answer as an proffesional .... if only one things "happens" on the way that you started to warn about, what time do you have to repaire/adjust the faults during a shot ? Non ! Curtis is my favorite sound guy but he is also a very polite and tolerent even if he also sais, "you could" but I wouldn't for my paid jobs. (he greated him for the content) It's nice but also some dissuasion.
I didn't weaken... I listening to his reasoning and his purpose. Context matters. I agree that Caleb's thumbnail wouldn't work if it read "mostly wireless" and he's big on catchy thumbnails but I did point out that I wouldn't do what he's doing and gave reasons. He's not a pro sound guy and if you hire a video guy one stop shop, he'll probably do fine with this system. It has a lot of things a pro sound guy wouldn't trust about it though.
13:07 - “The DP can talk to the-he can just hit a button and talk to the entire camera department.” I love your content, but at the same time, it would mean a lot if by chance you might be open to not defaulting to “he” for all hypothetical crew members?
@@SoundSpeeds Right on-you’re good people! (And just as one inclusive option, if you were to go with the singular “they” for hypothetical crew members-such as “The DP, they can just hit a button”-I think that’s one potential approach that totally work.)
I always try to be inclusive but I also don't use many pronouns in the real world. Conveying thought on TH-cam is different though. As a father of 3 little girls, I always strive for inclusion and am always aware of it
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Unfortunately charging while recording is something that I can't recommend in particular with this bag setup. The problem is the regulator noise in particular of the Wireless Go system, but the Deity does also introduce noise on the audio lines when you charge it via USB C. So If your really want to have recording while charging you would separate the grounds. Of course this is depending on the USB power bank you use. But in general this is a nice bag setup if you remove the wireless headphones and deal with the latency.
Really great comment. It didn't occur to me that the power bank could intro noise and I don't have experience with the Go wireless system first hand so really great info. Pinned.
I had one of those laptop power banks which I had Jerry rigged to run my old bag before I went to NP1. Introduced a 12k tone and a little harmonic. In fairness you couldn’t really hear it but it looked horrible on the spectrogram in RX. Was easy to remove though. Still, I have shame over that particular period.
I've never had that issue with either of the power banks I've used. Now you have me wondering. Might be worth buying a couple and see if I can identify the source and find a quick fix. Do you have a model number I could look up? Also, perhaps give me some details like if it was right against the recorder or RX.
@@SoundSpeeds ok I experience more than just a 12k tone. I will make a video for you where I show the issues with both wireless go and deity connect
Please! I'd love to see it! Shoot me an email because I do welcome you to do something similar to this:
th-cam.com/video/zDrSjFZwcW4/w-d-xo.html
"If you take a nap on the job, don't snore." Now that's sound advice! 🤣
LOL
Damn. We had a gaffer that did that once in our shoot.
Of course we were working over hours, but we had to wake him up every time we were going to film another take.
Yeah, crew snoring is the worst
At the beginning of this video I was extremely worried with how Allen was going to react, not because of any specific reason but because I know he is very passionate about audio and my interaction with other knowledgeable audio people tends to be a very negative experience if you do something wrong (or do something not wrong but not the way they do it). I was very happy with the tone of the video overall and how when he didn't like something he explained it in detail so we could learn from it AND provided solutions for both budget and professional uses (I hate when somebody tells me to spend $500 on my $300 audio setup to fix a "problem"). Kudos Allen for being awesome and showing TH-cam that you can be a professional in the field and react to a video without just making it a negative attack piece. Stay awesome!
Thank you. I try to be fair. I was a lot more direct and harsh in my first reaction video.
th-cam.com/video/glgrWK7NuTI/w-d-xo.html
@@SoundSpeeds I do remember you being more critical in that one, I'm glad to see you're able to recognize that you're improving, that's a great quality in a content creator to be able to make those kinds of adjustments to improve your content while also educating your audience, it's an extremely hard balance to maintain especially on the subject of audio so I commend you for doing such a great job! Thanks Allen for continuing to improve yourself which benefits your audience in the process. I will probably never use 90% of the things I learn on your channel but it's one of those things that's good to know and you make it enjoyable to learn the subject so it doesn't feel like a chore or a poor use of my time. 👍
Thank you. In fairness, I don't set out looking to rage - my goal is to be educational and informative. In Caleb's video, he had clearly thought thru everything and that made it easy to out everything in perspective. In Indy Mogul's video, everything was cringe worthy and there was no relief. It was a terrible comparison and not at all fair.
I thought the same things, it is clever. But honestly if it’s used mainly for sit down interviews then why not simply run a cable to the boom? It would avoid some of the issues you mentioned and improve quality. He could use the Rode go to send guide tracks to the camera and monitor with wired headset at the camera.
He could, yeah. The thumbnail would be clickbait then (if he used any cables) and I think he's liking the idea of having sound in his ear but not having to think about it unless he has to.
Awesome video. You and curtis are such a blessing in the community. Sound is very critical part of a film. I wished I already knew both of you when I was at filmschool. To be honest I learned more about sound with your contents than filmschool. 🤣 Anyways keep up the good work.. Thank you for the wonderful content.
Thank you. Yeah, film school was a major disappointment for me. I did pay good money to watch Citizen Kane a bunch of times and write papers about it though
@Sound Speeds Thank you for chiming in on this wireless bag concept. I noticed you mentioned that his road wireless headphone solution is better than the alternative idea of a Bluetooth headphones set up, but isn’t the road wireless Bluetooth? Is there a significant difference that makes it better?
Yes.
@@SoundSpeeds Oh interesting! I guess I assumed the Rode wireless was also Bluetooth because of the 2.4Ghz. But I guess it's not exactly the same
It's not. Bluetooth has upto about 1/4 second latency while 2.4 GHz doesn't.
Unfortunately having the tx near the D3 Pro is actually pretty bad too. I tried that setup before as a shotgun plant and the D3 Pro actually picks up a lot of rf noise.
Really?!?!?! I didn't have that experience when I did it. Granted, I only did it twice and not often. Good to know!
It's great to have you comment on add tips to Caleb's very useful video. Thanks!
Sure thing. Thanks for watching.
I’m a camera guy, but one this I made sure to invest in early on was a sound, sound package, and I carry it with me on set all the time even when directing. Interestingly the sound department always find something useful in me trunk when on set… more priority has to be given to sound by the camera department… imo
That's good to hear. That's a rare thing though. Most camera departments are friendly but live in a bubble. Now with remote geared heads it's more difficult than ever to get accurate, real time info about a shot.
@@SoundSpeeds I think the biggest issue is that DoPs that don’t edit will never see the frastrations of bad syncs, signal breaks, mixed levels, contamination, interference, handling noise fixes, noise… once you have had an important shoot with unsalvageable audio you will appreciate those super heroes called sound engineers +++.
Casing point is when I watch TH-cam great audio means I don’t need to pay attention to the video.
preach this is a great video. It really bothers me when people throw sound to the last priority when even they know how important it is! makes no sense, great tutorials for someone getting into this industry
I agree. Sound will destroy a low budget project quicker than picture will. I'm glad this rang true to you. Thanks for watching. I have an entire playlist for reaction videos and more coming soon.
thanks appreciate the reply!
Sure thing. 😎
I built out 75% of what Caleb created and my head dropped as I heard you. But felt better listening to the last 5 mins of the video. Your reactions has giving me ideas of things to improve and strive to get better at, thank you.
Absolutely. He put together a bag that will work for most viewers. For pro use, it won't work. If I can be of any assistance to you as you are putting together your bag, feel free to reach out.
That’s mostly because he didn’t give him a chance to explain himself before crapping on his idea. That’s the nature of any react video though. Probably could have been a bit less snarky in certain areas but to each his own.
All that RF interference is no joke though. I tried some similar stuff out and while it might work as you’re running around checking levels if you’re a solo shooter I would probably still switch back over to wired during the recording for the headphones just to reduce a point of failure and not have the nagging latency.
I started off hard on him because the video didn't start off well. Over the course of time, as the video progressed, it started making more sense. Most of his audio related videos aren't impressive and don't make sense by the end except to him. I wish he'd stop making audio videos.
@@SoundSpeeds Haha. You’re not totally wrong. I have watched him for a few years. I think he could benefit from doing some collabs and having some audio engineers on as guests occasionally His channel is tailored for budget solo shooters.
I’m sure you would probably accept some critiquing from video shooters if you tried to randomly try and talk about cinematography techniques too.
This is the first time I have watched your channel and seeing that some people in the comments have come from Curtis Judd’s channel I will start watching more. I have been watching the URSA channel a lot lately to learn more about how to lav correctly and your video came up in the feed. Best of luck.
Thanks for coming around to check out the channel. And yes, I know many camera guys but my ongoing joke is that my picture looks like crap but my sound is always great. :-)
As a Semi-Pro sound guy myself, this is the most sound guy-ish video I've ever seen lol, SUBSCRIBED! Staying for the camera department slander hahaha
Welcome aboard brother!
Hello, is it ok to ask for some reccomendation here? if not, please feel free to ignore me :)
After watching the original video you reacted to, I was starting to get some ideas on how to improve my audio recording and your video helped increase my understanding on this subject.
If you have a look at my channel, I film videos in very crowded/messy/small locations where is difficult to even setup a tripod for a camera sometime. And with a lot of background noise too (mostly Aircon and traffic).
Usually I am using Rode Wireless GO II mics attached to the arms of therapists but they catch really a lot of the background noise. Is there any better equipment to use? could a field recorded be better? or directional mics?
If it's a wireless solution, maybe I could be able to sometime use some small extra tripods for the mics.
If you have any suggestions, even very generic ones, please let me know :)
Thanks anyway!
If you use the Rode Go II, your audio will sound better if you use the audio it records versus the audio it transmits and record separately. If you're using the audio recorded by the Go II, great!
Microphone placement is very important in noisy environments. Get the microphone as close as you can to talent's mouth and if it's a noisy background, tell them to speak up a bit. If it looks noisy in the background, higher background noise will be forgiven. Signal to noise ratio is key so try to get your signal louder over the background noise.
Finally got back & finished this one - and apparently I got myself a bonus hint for MDR comfort enhancement. Need to check that at once - while my ears have gotten used to that set already, more comfort would certainly be welcome. Those headphones really were a bit squishy on my ears in the beginning.
The sound and feel of headphones is a personal experience that you need to like for yourself. Good to see you in the comments again.
Caleb's kit looks fine for run & gun, or documentary purposes. Totally understand a camera person's desire to get a sound kit as cheaply as possible. Fortunately, today you can get a lot better audio equipment for less money than even a few years ago. Not sure if someone that considers sound recording to be a disagreeable chore, would be the right person to seek advice from. Other than the MIxPre 3, and the Orca bag, I don't think the equipment would work well for other uses.
Entirely agree. Thanks for watching.
Gotta admit we love Yours and Caleb's work - subscriptions to you both. The surreal chorus of "awwww shit" ensued at the studio when we saw this thumbnail 😂
You're right though. Keep up the good work!
- A sound guy that knows about cameras.
I like Caleb's work too and wanted to reach out prior to let him know not to be alarmed. It was a lot better thought out than I was expecting in the first minute.
Alan, please give us insight into your camera operating career. I come from a photography background so my first instinct when looking into a film career was a DP. Quickly realized that it’s such a saturated market and saw sound as the best market to get into for film. There’s not a lot of us and we’re a vital piece to any production. I have this dream of being a boom op in IATSE and a set photographer in ICG.
This video should answer your questions
th-cam.com/video/_V-JD7hwcJc/w-d-xo.html
Not ideal. However, the system is inexpensive, streamlined and seems to serve his use cases. I’m sure he’s getting decent sound out of this rig. Fortunately, the things that aren’t ideal shouldn’t affect the sound being recorded as much as other weak-links in the system. Kudos on springing for the Mix Pre. The cashmere preamps are truly great! He’s proud as pie about this setup so I don’t want to shit on his sound parade. I’m a decade+ IATSE production sound mixer and a single transmitter and lavaliere in my kit cost more than this entire setup so it does make me chuckle. I do feel like these are some valid options for people who need the flexibility and mobility to fill multiple roles on set for freelance gigs though.
And that was my deduction by the end. If you want to cringe, check this out: th-cam.com/video/glgrWK7NuTI/w-d-xo.html
2:33 that orange thing. finally finally an answer. I kept seeing them and I'm like isn't that meant for just shipping I mean it could theoretically prevent some bumps and scrapes but isn't it just to keep the thing nice during shipping. I got some drillbits with those on them from the dollar store once.
That's all it's there for. Protection during shipping. You can keep it on if you want, it doesn't hurt anything, but it's kinda like leaving the plastic on a sofa.
I just discovered your video... and channel...
I am now a Fan...
I am new in the Video and Photography... but I am a fast learner and I have lots of Talent and Life Experience...
Awesome. I have nearly 500 videos full of info. Hopefully you find them helpful.
Great vid! Mixpre3 or Zoom F6? I m building my audio setup now. Is mixpre3 3 channel enough for short movies?
If you don't need more than 3 channels, go MixPre-3.
@@SoundSpeeds noted w thanks 👍 From ur experience, for short movies do you think 3 channels re enough?
Nice to hear a pro talking about the real issues that you can come across with this type of set up.
Nothing like reality 😅
It'll work for him and may work for TH-cam creators but not in a pro setup.
Saw His video and felt the same thing... couldn't agree with youre message more.
The thing that annoyed me the most was when he said "audio gear is always been kind that awhh " .... "last minute thought.."
Freeking cheese! sound is sooo important!!!
It is but I didn't catch that. Probably because I'm used to it being blown off on the show's I work.
@@SoundSpeeds are you saying that even the pro industry youre familiar with doesnt understand or appreciate enough sound department? I mean I could expect that from idk, youtubers and content creators but broadcast? ..
Sometimes, yeah. There are times Directors only care about getting the shot and won't even use their Comtek.
@@SoundSpeeds well they simply do not understand what cinema is, or even.. just- experience is A human experience . And im a video guy first. ( 360 guy basically) but praise good sound more and more, always on post but now try to make it on set. I try to make an emphasis to bring it to the highest level I can now .
And that's why your content will be great.
So, if you're using the same wireless system overall, do you have to worry about delay? Should the recorder be adjusted somehow for delay to account that into the timecode baked in? I use tentacles for the TC system. I have G4 ew500 lavs and I'm using the same ew500 transmitters for the shotgun, but I just got them and only got to use either the lavs or the shotgun?
What do you think of the g4 ew500 system? BH staff said it's pro; guys at locationsound bashed it as prosumer. What would make it prosumer? the delay? the preamps?
It's entry level pro. Very good product. Similar to the Sony UWP wireless but lavs are wired differently. You don't need to worry about delaying the recorder unless you really want to
@@SoundSpeeds thanks, I feel better about my purchase
Sound Speeds, you have JUST BECOME MY SOUND MENTOR. I'm listening
Let me know if you have any questions
@@SoundSpeeds I WILL! I'm starting your Building Better Boom Ops series. Excited. Thanks again! My name is James.
Copy you James. Welcome.
Hey @Sound Speeds ! I really appreciate all the info you packed into this video. I was wondering though, was the comment about the Rode Go radiation next to your head a serious concern? Would having a Bluetooth unit next to your head be less dangerous?
We only have short term test results which shows it's "safe". Decades from now we'll learn the real effect from RFI emitting technology. I've never scanned the Rode Go II personally but do know that testing is usually done in use case scenarios. I can't speak for the testing they did but IF testing while clipped onto a belt, for example, the results could fall within safe ranges for your waist but that same range may not be safe for your head. I'm not sure on it but I do see a lot of evidence that says it's inconclusive and we'll know later in retrospect. If memory serves, Rode's Go II FCC filings only showed it emitting 3.65mw of transmit power which *should* be safe but time will tell.
@@SoundSpeeds Thank you for your quick and detailed response! I appreciate the insight. Was there a reason you also didn't like the Bluetooth monitoring concept for wireless headphones? Is it also a health related worry or more of a technical problem? Thanks again
The 2.4GHz spectrum on film sets if very congested. It may be OK on corporate video shoots or small shows but since everything from Bluetooth to WiFi competes for the same 40 2MHz BLE channels and since many 2.4GHz devices frequency hop, it can change quickly and produce receiving issues. There's also potential health effect but clean transmission in the RF spectrum and latency are my biggest concerns.
@@SoundSpeeds Thanks!
Glad to help
Really interesting to see you react to this, since I only recently saw the '100% wireless video' from DSLR shooter.
Speaking of 2.4Ghz, have you heard of the Comica BoomX-D? I was surprised by the quality of it
I have not. I usually follow pro gear though.
Speaking of the recorder, I'm doing a research and I came down to F8n pro vs Mixpre 6 (or10) ii. I'd like to hear your thoughts on these two - and others that you might think are worth it in this range (not ready for 833 money yet). I'll see if you made a video on it as well but I wanted to write before I forget. I shoot on a RED Komodo: corporate, commercials, short films - for now (with either of those recorders and ew500 none of my clients will probably give a shit, but idk I feel like striving for quality in case I meet one of those clients that really appreciates it and might help me for the next step - and unlike most I always knew that I had to take care of good sound).
I would love to be able to afford higher tier stuff like lectrosonics (if I had the money I would buy for sure, I just dropped serious money on the RED, a new laptop and whatnot) but I'm thinking: let's wait a year or two before I make some money. This is why I thought that G4 ew500 were kinda in my budget range (and got a couple after researching), I got the mke600 shotgun to be able to power via battery (and some pros say that with a bit of EQ adjustment it sounds like 416 and that it's a great bang for buck purchase for pro work) and I'm thinking 1500 ish for the recorder and I'm set for a while with good Tv quality sound. Or so I understand. But again I'm asking you as a pro what you think as well.
Either will make you happy. The Zoom has more channels but the MixPre has analog limiters and 32 bit floating point if you care. Also, you can get automix and noise reduction plugins integrated if you want.
@@SoundSpeeds the F8n pro has 32 float as well. And according to Curtis and his test the floornoise is as low as a mixpre and doesn't change even with limiters.
@@SoundSpeeds I ask mainly because it feels to me the pramps on a SD might give a better sound. But I might be imagining because SD brand.
@@SoundSpeeds Would you say that the preamps on the mixpre ii produce a better sound than f8 pro? Listening to samples it seems to me the mixpre is more crystaline/clear? Not sure how to describe that difference; probably pros would describe f8 pro as warmer?
At 03:05 I love your expression (make that a meme) as I knew what you were about to say. #SoundRespect
On my Discord I have an entire channel dedicated to memes poking fun of me. Feel free to join and post one if you make it.
discord.gg/nGM7QY7
16:21, that was my thought exaclty when I watched the original video. Less cables so less failure points too?
No actually. More wireless, more points of failure. Not only is there a cable but there's a wireless TX and RX device in play that could be the issue.
@@SoundSpeedsYes I see what you're saying about wireless vs cables only. My point was why (if you are going wireless) add one more cable to put the transmitter at the end of the boom? That means you have a greater potential for cable noise, or other issues a bad cable/damaged cable and more of an RF interference source than just directly out of the mic to the transmitter. I agree that the system with the least points of faillure is just plain old cabled but why add a boom pole length of cable to an alreay wireless setup? Just ergnomics/balance?
The only reasons would be extra weight on the wrong end of the boom (mic side) or reduced performance from that extra weight.
Would love to see more of these reaction videos
I think there's 3 so far. I will make more though. Thanks for watching.
I've been on the market for some not too expensive headphones so I can start monitoring and not just trust the level meter on my camera. The Sony MDR 7506 was at the top of the list but I've always resisted to purchase them because of the false leather ear pads as I've had a couple of gaming headphones in the past with the same problem - flaking. But the headphone softies would be a good fix so thx! Now the challenge to find them or a similar product in Europe :-)
Look for headphones ear pad covers. You'll find them easily. Many companies make their own versions of them.
Hi Sound Speeds, I love your content. But I would personally be much more critical to this guy´s setup than you were- wireless 2.4Ghz headphone setup, why ? Wireless boom, why when it can only introduce issues ? Also, the only reason to use Deity connect is a price really.
He's not a pro, he's a content creators that's using affordable gear only a few feet from talent. That's why I only corrected misinformation and didn't bash his setup compared to a pro setup.
Good point. All the best !@@SoundSpeeds
By the way, we are eager to see the range test of a new Deity UHF digital THEOS. NOthing appeared yet. I think you would be the great person to do that. Curtis Judd remains silent, still.@@SoundSpeeds
Deity hasn't sent out any review units yet.
Audio always gets paid.. I am not a sound guy but, I live by that rule.
I approve this message
im fighting frequencies in the 500 range, in LA the 530-600 are worthless and the best spot is 470-512. I cant even imagine fighting 2.5 g. How long does the Battery on the RODE wireless go last? Not a 12 hour day unless you just keep on turning on it off constantly.
I'm not sure about the Rode. Never owned or used one
Wow I have watched this video probably a few dozen times and it just hit me I'm putting a rig together similar to this. However, I rather not go COMPLETELY wireless, that latency will drive me wild and I don't want to interfere with my wireless system. I'll stay physically connected to my bag. Plus that way no one can just pick it up and run. I'll snag that power distribution idea tho.
Just be careful of the noise created by the power distribution: th-cam.com/video/bXvqxHAnT8g/w-d-xo.html
@@SoundSpeeds Alright, thanks for the heads up
👍
Well this guy is a DSLR shooter... what do you expect :D
More since he content created for years and has a lot of subscribers
@@SoundSpeeds sadly number of views, subscribers or thumbs rarely reflect actual correctness. I been working in outside broadcasting for last 20 years and it is sometimes shocking to me what these youtubers with millions of subs present as an advice or even better some "new" or "secret" tips that has actually been known in the industry for decades.
To expand on the topic of this video... in sport broadcasts we just have boom pole with ME66 inside the shock mount + SKP 500 G4 directly attacked... no cables. Boom guy then has a body pack receiver with headphone plugged in. Nothing else... obviously there is a sound technician inside the truck handling the mix. It might not be ideal or good enough for movies but for broadcasting just to get some coverage on coaches it works just fine.
I hear you. TH-cam is a platform allowing everyone to says and teach anything and unfortunately, as long as you play the game they way they want, you'll do well. I understand broadcasting is a different creature too.
Is there alternative to the rode headphone for monitoring he is using, especially if you have 2 people who want hear what the other person is saying, if commentating on a livestream
Yes, you can hardline headphones with a program feed. You can transmit to individual receivers like IFBlue IFBs or less expensive models. You can use the Deity BP-TRX in IFB (IEM) mode.
I’ve been waiting for this video to get reviewed
Were you the person that requested it?
@@SoundSpeeds oh no it wasn’t me but I had seen that video awhile ago, and I would have liked to have seen it get reviewed by you. I knew you’d break down every detail on the do’s and don’ts regarding it. I prefer hardwired boom to my mixer to have the reliable audio source in case wireless lavs hit interference. But you did an amazing job as always, as a fellow sound guy thank you! I look forward to these types of videos.
Thank you. I don't see a reason to not hardwire a boom if you're carrying the bag constantly but I think he goes wireless so he can ditch the bag and (likely) concentrate on the shot.
Nice vid. Would love to see you and Caleb in the same video building out a bag. Interesting content
I'm game! I like Caleb and tried to reach out but don't have his contact info. He blocks DMs on Twitter and am not a fan of Tweeting the world trying to reach someone.
@@SoundSpeeds Too bad. He just did a video with some 3D printing. Seeing how much you like to customize your kit I think it would be cool for you and Caleb to work together to custom 3d print something to help boom operators.
@@SoundSpeeds Also have you considered dropping a comment on one of his YT videos? That seems like a resonably respectful way for creators to reach out on YT.
I've commented on a few of his videos when he's very wrong. He's nice but should stop talking about sound topics. He's wrong many times but presents so well, his audience is fooled. That annoys me.
I have a 2k-2500 budget what audio kit bag set up would you recommend? I’d like to have the least amount of wires possible.
This is not a question for a comments section. Email me and provide details as to what exactly you are doing and wanting.
@@SoundSpeeds email sent.
👍
With the bag having aluminum lining how does the battery hub and batteries not create a heating issue?
Because it's thin and insulated - just there to provide a framework to build off. The bigger issue with bags in general is ventilation.
What's recording the safety track? We all know wireless will fail. 3 wireless units will ALWAYS fail.
The Rode Go does.
I think the 2.4 Ghz systems have their own place when you are on a budget, especially when your frequency block is the wrong one for that particular location and you have no way of solving it. I do have a question about the delay you were talking about the deity system, you talked about phase issues and I'm not really educated on that topic. Could you point me into the right direction so I can learn about these phase issues?
Btw thank you for the softies, I'll be getting a pair for my Sony's headphones, and thank you as well for the inside on the Riedel Systems, very informative!
Did I say phase? I'm trying to remember the context I could have used it in. Do you have a time stamp?
@@SoundSpeeds Think it's about the part where you could phase align it in post top get rid of the delay between a cable and the wireless
And the problem is if one audio is delayed differently that another they can "interfere" with one another if you try to monitor both at the same time and that makes it harder to hear if you have any actual problems in the recording
This can be fixed in some recorders by putting a delay on the Wired source to match the wireless or you can match them up in post
Oh!!! Check out this video: th-cam.com/video/53mbFjIpvVY/w-d-xo.html
Two audio tracks that aren't perfectly aligned will cancel each other out similar to how two mics will when close together. Post can click a button and it will match the crests and troughs of the audio tracks so they don't phase but on set, they won't do that and if the delay causes one mic to be exactly out of phase with another mov, if you bring them both up then they will cancel out the audio you care about. For that reason you want to add delay on the channel input of the hardlined mic so that the signal goes into the mixer as close as possible to the delayed wireless of the Deity. Does that make more sense?
Thank You for the review
Sure thing. Thanks for watching.
Little off the topic, but about the prosumer wireless systems - I've trying to make a decision about buying Sony's UWP-D21 for my sony dslr (sony a7c). In this video you saying that Deity is quite good in it's class, though it is cheaper. Would you advice UWP-D21 upon Deity or vice versa? (I consider connecting Sony via multi interface shoe shoe). Thank you in advance👍
The Sony UWP series is UHF and it's far more stable in a professional environment or when farther away. Watch my BP-TRX review and your eyes will open.
th-cam.com/video/RGz5ipoJsjo/w-d-xo.html
I use the sony uwp and is really good only problem is that it does not use the same connector as the Sennheiser g systems
It has better range and stability than my g4 system but a slighty worse sound to noice
That was my experience too. The G series sounds more natural while the UWP was brighter sounding. The G uses gain and the high you take it, the more gain buy the UWP calls it attenuation and the bigger the number, the less gain. I was frustrated by the connector too. I think the two nonground pins are swapped between the two but that's speculation. A guess after trying to figure out what could be different.
@@SoundSpeeds thank you for such a complete answer! I went to watch your bp-trx review
hello allen I was one of these days thinking how fabulous it would be for you to make a content video about the contribution of the quality of the microphones to the final finish of the film. To give me an explanation, it would be like seeing examples of how you have used equipment that goes beyond the industry standards in your work. equipment that aims to achieve a specific aesthetic and that does not sound the same as everything that is produced in the industry.
I don't know that the great I use is different but I do have my techniques for how I do it.
@@SoundSpeeds It would be great to see a scene analyzed with any of those techniques!
Hmmm... Anything in particular?
@@SoundSpeeds Maybe deconstructing a clip or scene from P valley or Walking dead that involved important technical decisions that impacted the end result of that sequence. @Sound Speeds
Oooohhh! Lemme think about that one. Sounds good!
Great video Allen, by the expression on your face, you don't like wireless headphones 😄
No, I don't but I was a bit more tolerate of it knowing it wasn't Bluetooth. It's a clever use of the Go wireless system even though I wouldn't ever do it. I'd be concerned about RF radiation to my head. Even though it's low power... You never can tell.
I see you are wearing an Orca Theme Soundman for Halloween Wardrobe? Instead the whole Black. :)
No, I was a Squid Game manager while walking around the neighborhood with my family. I'll post a picture on my Twitter.
Videographers don't like recording sound. They usually only tenuously understand the tools, find it a distraction from setting up camera and lighting, and are only equipped to record sound in the most opportune conditions. They will however, always try and build sound recording into the services they offer to get a leg up on other videographers. It's a race to the bottom mentality.
All sound technicians would appreciate a bit more solidarity from our friends in camera. Acknowledge that sound recording is a distinct job and skillset. Insist on having a sound recordist when negotiating with clients. Make your life easier while keeping job opportunities open for others.
Exactly right.
Good work you’re doing here !
Thank you. A different style of education video but it resonates with people
I don't see the big advantage of wireless here. If you are near the boom pole (holding it?) and the bag (also holding it?) why not just run cable into the MixPre and then plug in your headphones and skip points of failure (batteries and transmitters/receivers)?
That's my way of thinking but he did explain that he can ditch the bag and just run around with the boom if he wants. To each their own. I wouldn't do that though.
New material for you 😎: th-cam.com/video/CNCBBei5Jgc/w-d-xo.html
Oh my... Yes indeed!
29:24 - What is the difference between a Package and a Kit?
Edit: With love from the UK
Explained in this video: th-cam.com/video/YCcRwKFi8Fw/w-d-xo.html
This guy would demolish the crap epic light media is putting out.
Care to share a link?
Haha @Thomas Manning ,that's your channel :)
Oh, is it? Is he asking me to react to his own video? I know I'd be destroyed if I asked Caleb to react to my video quality. I'm sure he'd be polite and reassuring though.
@@SoundSpeeds our channel has easy videos to demolish… we are kinda hated in the “real” film community online. We have a video where we talk about “The best AUDIO STARTER KIT” it is a video about sound we have done. But there’s another one where I throw c stands off the roof and I want to see a reaction to that. Roast me!!!
Ok, fair enough. If you shoot a video asking me my thoughts on a video or two (depending on the length) and proclaim "Roast me", I'll be direct, undiplomatic and brutally honest. I'll even consider putting your video in the opening on mine.
I’m absolutely on the same front with you on the whole “ugh audio gotta do it” mentality being detrimental. Especially on student and short film sets with inexperienced directors, you’re basically left with the scraps of attention, and good luck trying to get gung ho video oriented directors to give a shit about the sound on set. Frustrating beyond belief.
It is! A fight I am constantly in. Training Directors is part of what I do and when they are inexperienced and receptive, we can work magic.
If you ever reacted to my audio stuff... You'd slay me. Haha.
LOL. Doubt it. ;-)
Re-reaction 😂
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Did you mean to dress as the orca bag? Lol jk thanks for the review. Very helpful
Sure thing. Thanks for watching.
Watching video people talk about sound is pure pain.
Agree 100,000%
@@SoundSpeeds My favourite is Parker Walbeck's channel teaching students about how to do an interview in a video, and the sound guy they have tells them to use an NTG3 in an extremely reverberant room (warehouse studio) and to position the mic with some distance rather than riding the frame line. So many things wrong with this situation...
LOL. Please share a link with me!!!
@@SoundSpeeds th-cam.com/video/J7ENEuqXDwY/w-d-xo.html
Thank you
Caleb (like yourself) makes very good content, try and keep your critiques fractionally more upbeat.
I thought I did. I started to get a bit worked up at the beginning but after hearing him all the way thru, I even say he redeemed himself. I could have sworn this was primarily a positive thumbs up. Only a few things I wouldn't do because of the environments I am in on set but for corporate videos and his own videos... It's quite well put together. I even wrote in the description that I have a lot of respect for him.
@@SoundSpeeds Your right, I stand corrected. Critiquing someone is a fine line.
You're right. It is. Many camera guys have crap advice which made me wary of Caleb but in the end, I couldn't fault any of it. Especially once I heard why. It's quite functional for what he's doing.
What a bizarre thing to say to someone on their channel. "...try and keep your critiques... more upbeat." Uh, why? Were your feelings hurt [by proxy]? This impulse to not only police a critique but inform the reviewer as how he should deliver it... check yourself. Wake up. Begs the question: do you know you sound like a little Brown Shirt?
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What’s your rig
Depends on what's called for
@@SoundSpeedshave you done any vids on the gear you use on a shoot .?
th-cam.com/video/tbVqIpdTGLs/w-d-xo.html
With another deity dual rx he could listen in wireless stereo for cheap ahhahahhahahah
Imagine a Duo-RX on your headphones. That would suck.
Get off your high horse. He's talking about this from the perspective of a single operator or a 2 man crew. If you're a dedicated sound guy, you don't have to worry about that. In fact you can turn up to a gig with your kit pretty much set to go in 5 minutes. Sure it takes work beforehand but I just don't think you understand the demands of low budget video. I've done it all as a single operator, multiple cameras, sound, lights etc. I can tell you from experience the less you have to worry about the better. And I never treat anything as unimportant. Including audio. Caleb does a reasonable job on this vid. I don't love the wireless headphone setup. And I don't love his actual mic.
If you noticed, I was a bit more critical at the beginning but by the end I pointed out my concerns but said that, in effect, if it works for your workflow, cool.
You started well but weaken as long it continued. Why ?
Caleb wants two things, to give exiting usefull suggestions but even to impress. If you answer as an proffesional .... if only one things "happens" on the way that you started to warn about, what time do you have to repaire/adjust the faults during a shot ? Non ! Curtis is my favorite sound guy but he is also a very polite and tolerent even if he also sais, "you could" but I wouldn't for my paid jobs. (he greated him for the content) It's nice but also some dissuasion.
I didn't weaken... I listening to his reasoning and his purpose. Context matters. I agree that Caleb's thumbnail wouldn't work if it read "mostly wireless" and he's big on catchy thumbnails but I did point out that I wouldn't do what he's doing and gave reasons. He's not a pro sound guy and if you hire a video guy one stop shop, he'll probably do fine with this system. It has a lot of things a pro sound guy wouldn't trust about it though.
Sounds like a hater to me! He's not saying this set up is for professionals working on a Hollywood set. Jesus ... dude had to be born by a Karen! lol
Did you watch until the end? By the end I understood where he was going and why and said it made sense for uses like his.
Job security? Most of these videos have horrible advice.
I agree for the most part but the creators of these videos aren't pros in ENG, reality, dropped TV or film.
13:07 - “The DP can talk to the-he can just hit a button and talk to the entire camera department.”
I love your content, but at the same time, it would mean a lot if by chance you might be open to not defaulting to “he” for all hypothetical crew members?
Oops. Yeah... I do try to say "he or she" but even that's not inclusive enough this day and age. I'm not perfect but I get your point.
@@SoundSpeeds Right on-you’re good people!
(And just as one inclusive option, if you were to go with the singular “they” for hypothetical crew members-such as “The DP, they can just hit a button”-I think that’s one potential approach that totally work.)
I always try to be inclusive but I also don't use many pronouns in the real world. Conveying thought on TH-cam is different though. As a father of 3 little girls, I always strive for inclusion and am always aware of it
@@SoundSpeeds Much appreciated, friend!
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I don't know man... your S's are hurting my ears...
Ok...