RODE Videomic Pro

[Jon Fairhurst]

Guy,

You will want to run Magic Lantern.

Canon's audio code boosts the analog signal by +31 dB and all control is done by reducing the digital gain. I believe that they did this because it provides simple monotonic gain control. A better solution would have been to ping pong between analog and digital gain, but they would have risked strange gain changes between certain tick marks.

With Magic Lantern, you can set Analog Gain (m-gain) to +10 or +17dB and Digital Gain (d-gain left and right) to 0 dB for excellent results.

The one bummer about recording into the 5D2 is that it has a high pass filter always enabled. This is no problem for dialog, but isn't ideal for music.

[Guy Cochran]

Originally Posted by Jon Fairhurst

Guy,

You will want to run Magic Lantern.

Canon's audio code boosts the analog signal by +31 dB and all control is done by reducing the digital gain. I believe that they did this because it provides simple monotonic gain control. A better solution would have been to ping pong between analog and digital gain, but they would have risked strange gain changes between certain tick marks.

With Magic Lantern, you can set Analog Gain (m-gain) to +10 or +17dB and Digital Gain (d-gain left and right) to 0 dB for excellent results.

The one bummer about recording into the 5D2 is that it has a high pass filter always enabled. This is no problem for dialog, but isn't ideal for music.

Thanks for the tip John. I had not been using Magic Lantern for the past few months. If you'd like to run some tests and share your results, I can ship you the VMP to give it a whirl. Since we're in the same state, it would be there tomorrow.

[Jon Fairhurst]

Thanks for the offer! Unfortunately, I'm overly busy for the next few weeks. Otherwise, I'd take you up on it!

[Lee Mullen]

So other than the technical jargon, when will it be released?

[Guy Cochran]

Originally Posted by Jon Fairhurst

Thanks for the offer! Unfortunately, I'm overly busy for the next few weeks. Otherwise, I'd take you up on it!

Ah, I confused you with an audio junkie like me that would give up sleep in order to make time to test out new gear :) LOL. Seriously though Jon, your videos have been very helpful to a lot of content creators so, if there is ever anything that we can do to help let me know.

Originally Posted by Lee Mullenberg

So other than the technical jargon, when will it be released?

We have a few coming in next week. http://www.dvestore.com/products/RODE-Videomic-Pro.html

Another thing worth noting is that the short cabling of the new VideoMic Pro is high quality Mogami cable. Nice touch. Anyone know of a source for a super high quality 1/8" mini extension cable? With the original VideoMic, I tested an unshielded 20' Radio Shack cable and got buzz. With the VXLR (3.5mm to XLR adapter) and a BeachTek, it all went away. The VideoMic Pro on a boom pole is going to surprise a lot of people. I'm looking for a cable to do a few more tests to put up a video showing the VMP on a boom pole if anyone is interested in hearing it.

[Rick Reineke]

"Anyone know of a source for a super high quality 1/8" mini extension cable?

Just so happens I re-did my bag two months ago. I used Canare "L-2E5 mini microphone cable" and "L-4E5C mini star-quad". For any 1/8" plugs I used Neutrik NT3RC (right-angle) and TecNec M3.5S locking.

[Sam Mallery]

I use the Rode VC1 cable. It's a bit on the short side for booming (10 feet), but that limitation is better than buzz/noise.

[Rick Reineke]

My above post was making y'own.
Markertek, Trew, Gotham, Dale, ect. would gladly make cables using the same or other premium components.
Big box stores like B&H do not make cables. And if they they have a specific cable, it will likely be mass-produced w/molded plugs and low-cost cable stock... which may be fine, for occasional usage and in a 'perfect world'.

[Harry Simpson]

Originally Posted by Guy Cochran

... got buzz. With the VXLR (3.5mm to XLR adapter) and a BeachTek, it all went away.

Guy not to jump off topic too much but wouldn't the 3,5mm to XLR adapter and XLR extension cut out the buzz too if any. I've had great luck running 1/8" extensions but wonder if the 3,5mm to XLR adapter would mitigate the problem.

[Patrick McLoad]

I wish it had an XLR plug for my ENG camera, then I would be interested.
I don't believe in using adaptors, especially on-camera.

Patrick McLoad

[Guy Cochran]

Originally Posted by Harry Simpson

Guy not to jump off topic too much but wouldn't the 3,5mm to XLR adapter and XLR extension cut out the buzz too if any. I've had great luck running 1/8" extensions but wonder if the 3,5mm to XLR adapter would mitigate the problem.

Hi Harry,

My boom pole (K-TEK KE110CC) is the coiled cable type so the XLR is built-into the pole. I have slapped a RODE VXLR on the RODE VideoMic Pro for me it works great as once it goes to XLR, it is balanced, but I'm trying to help folks that are just going to mount the mic on a stand or in a fixed position close to the subject.

Originally Posted by Patrick McLoad

I wish it had an XLR plug for my ENG camera, then I would be interested.
I don't believe in using adaptors, especially on-camera.

Patrick McLoad

Hey Patrick! Yes, this is probably the wrong mic for an ENG camera. I would be looking at the $199 Audio Technica AT875R at the minimum for anything on a pro camera, and it even costs less! Needs phantom power though, which I'm sure your camera has.

Originally Posted by Rick Reineke

My above post was making y'own.
Markertek, Trew, Gotham, Dale, ect. would gladly make cables using the same or other premium components.
Big box stores like B&H do not make cables. And if they they have a specific cable, it will likely be mass-produced w/molded plugs and low-cost cable stock... which may be fine, for occasional usage and in a 'perfect world'.

Thanks for the reply Rick, I was hoping to find an off the shelf solution to recommend. I went back to the 20' Radio Shack cable and surprisingly no hum direct into a Zoom H1 at all of the settings -10dB, 0dB, and the +20dB. I'm wondering if my old office had some stray electrical that our new office does not. I just want to have something better than the 10' RODE VC1 extension cable, which works fine, but it's only 10' and feels very thin. Let's say for a typical interview set-up, 5' from camera to floor 5' feet to subject, then 7' to get up and over their head. Yeah, gonna need a 20 footer.

I think this mic is geared towards folks that want to put it on camera, but as all audio professionals know, the key to really great sound is to get the mic close to the subject. So, I think that the VideoMic Pro is going to appeal to those that know that they're going to get "ok" sound with it on camera, and then I'd like to see more people getting used to the idea of improving sound quality by using the VMP with an extension cable on a pistol grip, stand or on a boom pole. I know a lot of us want to use the best gear with proper XLR mic + cable, adapter/mixer, recorder, but sometimes getting 90% there for 1/4 of the cost is "good enough" for general use. We all have different clients with different degrees of what is perceived as acceptable audio, and we all have different budgets. This VMP fits a nice little niche of, getting us that much closer to great sounding audio. Heck, maybe that's the video clip I need to put together, this is the VideoMic Pro, from 10 feet, 5 feet, 2 feet. This is the NTG-3 into a mixer, into a recorder at same distances. Then ask the question, "Is this better sound worth the extra cost to you?"

[Chad Johnson]

"Heck, maybe that's the video clip I need to put together, this is the VideoMic Pro, from 10 feet, 5 feet, 2 feet. This is the NTG-3 into a mixer, into a recorder at same distances. Then ask the question, "Is this better sound worth the extra cost to you?"

Great idea Guy. If you don't do that, I will after I get my own VMP.

[Patrick McLoad]

Thanks for the recommendation Guy; I'll take a look at the Audio Technica AT875R. Yes, the price is right, though hate to loose the stereo feature of the Sony mic, for what that's really worth.

Patrick McLoad

[Guy Cochran]

Originally Posted by Chad Johnson

"Heck, maybe that's the video clip I need to put together, this is the VideoMic Pro, from 10 feet, 5 feet, 2 feet. This is the NTG-3 into a mixer, into a recorder at same distances. Then ask the question, "Is this better sound worth the extra cost to you?"

Great idea Guy. If you don't do that, I will after I get my own VMP.

That would be very cool Chad. Oh wait, that would be "hecka tight" as your niece would say :)

Originally Posted by Patrick McLoad

Thanks for the recommendation Guy; I'll take a look at the Audio Technica AT875R. Yes, the price is right, though hate to loose the stereo feature of the Sony mic, for what that's really worth.

Patrick McLoad

Patrick - depending on how much Stereo means to you there are two options. One is the Edirol CS50 stereo shotgun mic. It's switchable between mono and stereo. I have a feeling that the mic is oem'd by AT for Edirol. It's diameter and build is uncanny. The only downside is that it ships with a super long stereo XLR cable (it was meant to be paired with an Edirol Field Recorder). I'm sure you can find a sufficient cable or possibly build one. I'm into short coiled cable for on-camera mics these days. Because that's the worst, having your camera snag on something because of a cable.

Option 2, and what I would do, Sony has some b-stock ECM680s stereo shotguns - these sound pretty amazing for $574.85. These are normally $900. Sony Pro Outlet Product List

And last but not least...for those that would like to see a size comparison....here is the original RODE VideoMic, the RODE VideoMic Pro and the Sennheiser MKE400.

[Mike Beckett]

For a budget stereo on-cam mic, try the Beyer MCE72. I used to have one and found it pretty good for getting good "ambient" noise, a good, general all-round mic - it used to live on my Sony V1E until I sold the complete package.

Cost is around $300:
http://www.bhphotovideo.com/c/product/290399-REG/Beyerdynamic_465461_MCE72_Portable_Stereo.html