DV Info Net https://www.dvinfo.net/forum/ This is an online discussion at DV Info Net -- The Digital Video Information Network. en Sat, 30 May 2026 01:34:08 GMT vBulletin 60 https://www.dvinfo.net/forum/images/misc/rss.jpg DV Info Net https://www.dvinfo.net/forum/ Footage shot with FX6 and new Sony 400-800mm lens https://www.dvinfo.net/forum/sony-digital-cinema-camera-systems/539749-footage-shot-fx6-new-sony-400-800mm-lens.html Sat, 23 May 2026 13:17:34 GMT I finally had time to post some footage from the new lens I got after NAB. Three Hour Video Challenge with Sony FX6 and 400-800mm lens - YouTube I finally had time to post some footage from the new lens I got after NAB.

]]> Sony Digital Cinema Camera Systems Doug Jensen https://www.dvinfo.net/forum/sony-digital-cinema-camera-systems/539749-footage-shot-fx6-new-sony-400-800mm-lens.html Analogue days, before the arrival of industrial video screens https://www.dvinfo.net/forum/totem-poll-totally-off-topic-everything-media/539748-analogue-days-before-arrival-industrial-video-screens.html Sat, 23 May 2026 03:46:47 GMT Boyd said: Back in the mid 1980's, we had a slide projector with a built-in cassette deck. The audio was recorded on one track and the other track had some kind of clicks or tones that automatically changed the slides. So, you could create presentations where the slides changed on musical cues. Actually, I think it was something that was originally from the 1970's which we picked up at state surplus. :-)’

Hi Boyd, about 1975 the U.K. Electrosonic company improved on your cassette deck and came out with their first ES2001 controller. It could sync 2 Kodak 35mm slide projectors together with a pulse code from a track on an audio tape that also had the soundtrack. The ES2001 provided 3 methods to change slides - instant, fast dissolve and slow dissolve, and on this controller you could adjust the fast and slow dissolve times.

I learned how to run the ES2001, if the dissolve time was too slow from A to B projector, you couldn’t use the projector A again until it had changed to the next slide, 2.8 secs.

And depending on the clients budget, he could have any number of screens in an audio visual show of any length. 5 screens with quad sound for 30 minutes was the biggest show I ever did, for Sydney’s TCN channel 9.

And sound effects made it. I had the use of 9s helicopter and we flew to an airfield where I recorded it flying low over me on the field, while I recorded the sound of it. This sound passing over the audience in quad from the back to the front speakers, made the a/v a great success. And I played it very loud, in rehearsal I could rattle the cutlery on the audience tables.

John Crane a director at Natec Sound Studios where I worked, was a visionary and he was first, selling Ford Australia with the idea of presenting Fords next year new model car to Ford dealers around the country, and over 4 years we did. We made 3 screen a/v shows and flew next years model Ford and our a/v gear around Australia in a Bristol Freighter, (below.) We landed at country airports that had never seen a Bristol before and when the front ramp was lowered we would watch for the surprised look on the ground crews faces as the new car was driven out.

At the annual dealer show, John’s idea was to have next years model Ford car on stage completely covered with a number of thick coloured parachutes so you couldn’t see the new cars shape. Spaced out during the 30 minute show when a spotlight came on, very slowly one parachute after the other was slowly raised off the car, till the last one, with the sound effect of a trumpet fanfare, next years new shape Ford was finally revealed to the Ford dealer audience. I attended a big show in Sydney and the 1500 dealers who’d flown in from around the country went nuts cheering and stamping. Ford loved it and based on previous experience had a doctor standing by in case of heart attacks.

When many professional 35mm still photographers saw our a/v shows with 35mm slides ‘moving’ in a multi-screen presentation - they really took notice. This was their entry into the world of moving pictures, but they needed good soundtracks and based on our Ford shows, some came to Natec. I had to get Natec directors permission to accept outside a/v work while I was still working on Ford. And because there was a lot of it, as long as I hid all Fords work at the time, I could. Crazy days.

Then the big industrial digital video screens arrived and basically killed the multiscreen A/Vs overnight. But here’s Electrosonics single screen ES3601. Over 40 years they sold many of these and because buyers could make their own presentation with their own 35mm slides and their own narration sound track, some are still in use today …
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]]> The TOTEM Poll: Totally Off Topic, Everything Media Allan Black https://www.dvinfo.net/forum/totem-poll-totally-off-topic-everything-media/539748-analogue-days-before-arrival-industrial-video-screens.html Tripod selection question https://www.dvinfo.net/forum/under-water-over-land/539747-tripod-selection-question.html Mon, 18 May 2026 05:58:26 GMT Hi everyone,

so before I start I have selected the Sachtler FlowTech75 and Aktiv8 head as the best go to system.....


What I'm a little concerned about is how easy will this be to walk about with all day or take on long hikes?

Also is it easy to fly with?


For filming I'm going be using a mirrorless camera and the total payload I envisage is not going to exceed 5kg. - basically I'm putting together a travel setup of minimum lenses and body to take abroad.


I have been following several pro photographers/video guys and they seem to do things a little differently....


Looking at Harry Collins, he seems to use the Cartoni system and specifically the Stabilo.

Morten Hilmer uses a bunch of stuff but for video seems to be either the Gitzo pro 75mm legs or the Sachtler Ace XL system. He'll use the fluid head with either legs - I think he might have the FlowTech75 judging by his video:



Between the Sachtler and Cartoni, the Cartoni seems to be the lightest weight of them all.

I also had a look at Miller too.


I'm completely confused now. For anyone who will hike and take videos of landscapes and wildlife, what is your preferred setup and why?


I'm not sure if I mentioned this in my other thread (forgive me, it's been an all nighter)? But I may have a chance to go to the south (Mediterranean) region of Turkey as I haven't been back home for around 20 years and as my health is going south it will definitely be a good experience for me.

The plan is to go to the National Parks and see if I can catch some of the wildlife which includes: wild boar, brown bears, pine martens, golden jackals, wolves, ceracals, lynx, ibex etc....


My current thought is either going to take my Novoflex photo tripod along or the smaller and lighter and almost as sturdy Falcam TreeRoot travel tripod.

I can use the TreeRoot for vlogging, audio and stills where I don't need a long telephoto lens - so basically everything bar perhaps the Canon RF 200-800; even though I'm sure it will take the weight.
A microphone can also easily be attached to this so that covers everything pretty much there....


Obviously a photo tripod is no good for smooth and steady video work so which direction to go into?

I think even Coman (manufacturer of my other travel tripod) do fluid heads but I'm not sure if they're going to be on the same level as anything I mentioned already.


I've discounted stuff like Sirui and Manfrotto etc... as I'm not sure if they will be as good or last as long.

iFootage and SmallRig have video centric tripods too but the reviews suggest they may not be of as good quality either.


I'm totally stuck here.... I think max payload will probably be in the region of around 5kg. Probably more in the line of 3-3.5kg


Between Sachtler, Miller, and Cartoni which one would be more suitable or is there something else that I haven't considered?


Thanks. ]]> Under Water, Over Land Kaya Saman https://www.dvinfo.net/forum/under-water-over-land/539747-tripod-selection-question.html 2026 Eurovision Song Contest. https://www.dvinfo.net/forum/totem-poll-totally-off-topic-everything-media/539746-2026-eurovision-song-contest.html Sat, 16 May 2026 02:36:38 GMT Australian Delta Goodrem has a 14% chance of winning the 2026 Eurovision Song Contest, placing her as the second favourite behind Finland, which has a 38% chance. This marks a significant improvement following her impressive semifinal performance. Delta performed in the second half of the second... Australian Delta Goodrem has a 14% chance of winning the 2026 Eurovision Song Contest, placing her as the second favourite behind Finland, which has a 38% chance. This marks a significant improvement following her impressive semifinal performance.

Delta performed in the second half of the second semi-final in slot 11. Her own composition Eclipse qualified for the grand final along with nine other performers.

I haven’t been able to find the name of the recording studio for her song Eclipse, but I found all the musicians on Eclipse were in Los Angeles so I’d say that’s where the studio is, and it’s not being advertised.

Pity, that’s a studio owners dream to have a hit song recorded in your studio, especially if the singer wins the Eurovision Song Contest. They might be waiting to see if she wins it.

It seems unusual that Eclipse was mastered by Leon Zervos at 301 studios in Sydney, maybe something to do with Delta Goodrems own new record label ATLED records.

We’re all wishing her the best of luck on May 17 in Austria …
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]]> The TOTEM Poll: Totally Off Topic, Everything Media Allan Black https://www.dvinfo.net/forum/totem-poll-totally-off-topic-everything-media/539746-2026-eurovision-song-contest.html New RØDE 2026 releases. https://www.dvinfo.net/forum/all-things-audio/539745-new-rode-2026-releases.html Wed, 13 May 2026 05:52:15 GMT Years ago I used to be involved with blind listening tests at RØDE mics. HQ in Sydney. Before we got there they’d record a single sound, eg: voice, guitar, violin etc. with a number of carefully positioned pro mics, including their latest RØDE mic. 3 or 4 of us had to listen to each separate unidentified mic sample from a speaker, then take a break to write comments. Of course RØDE was very interested in the audio comparison we got with their new mic. They paid us including with new mics., I’ve still got some of mine, see below.

I remember when their brand new NTG-3 shotgun was included, we all agreed it demolished the others, especially RØDEs’ biggest selling competitor the Sennheiser MKH-416, which was much more expensive and still is.

Recently RØDE announced their NT1 5th Generation is the world's first microphone to feature a 32-bit float digital output - in 6 colours. Obviously this is a ground breaking achievement so why didn’t they patent it? Their innovation is in creating compact, affordable implementations of 32-bit recording in mics and wireless microphones, rather than inventing the 32-bit float format itself.

Before I could write an article about the RØDE 32-bit ground breaker, along comes the Las Vegas 2026 NAB with more of their announcements …


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]]> All Things Audio Allan Black https://www.dvinfo.net/forum/all-things-audio/539745-new-rode-2026-releases.html Audio for nature videos https://www.dvinfo.net/forum/under-water-over-land/539744-audio-nature-videos.html Sun, 03 May 2026 13:11:47 GMT Hi,

I hope that this is ok to post here as I'm not sure if this belongs in the "All Things Audio" section?

Anyway I have 2 scenarios that hopefully I'll get some ideas into which direction to go down....

Scenario 1:

For this scenario I've been following 2 videos for ideas and I'm a little lost!


The first by Morten Hilmer (Danish wildlife photographer/film maker and vlogger:


and the second by Petri Koivisto from Finlamd:




As there are many different ways of doing this I really want to figure out a solid direction to get started.

One of my ideas was to use a Sound Devices MixPre 3 or 6 linked to a stereo X/Y pair; Morten does this on a T-bar mount while Petri seems to use the Audio Technica BP4025 stereo mic

I'm not sure what mics would be a good choice for this as my experience is in music studio recording and not live sound or field recording.

I kinda had a look at a Neumann KM 184 Matched Pair - which is great if your doing overheads for drums but not sure about field recording?

In terms of directional mic, will any shotgun mic work well? Again the Sennheiser MKE 600 is discussed, but what about something like a Neumann KMR 81 or 82 i?

Incidentally I have the Sennheiser MKE 400 but haven't used it much, only really for voice overs in terms of narration.

How would say a large or small diaphragm FET based mic work out in this type of scenario or are there more suited mics?

Also does polar pattern matter too for this type of application? I guess it depends on preference and what you are trying to do.....


Scenario 2:

A little more complex as for this I wanted to mix and match a group of up to 4 speakers with ambient sounds.

It would be a single shooter "run and gun" style scenario where you are following 3 - 4 people all hooked up to wileress lav mics in a forest or somewhere.

Looking at options from DJI, Rhode, Sennheiser etc.... they all have a standard Rx unit with 3.5mm output that can be linked to 2x wireless Tx mics

(I have the DJI Mic 2 (single) that I use in Bluetooth mode and it is pretty good for speech)

If using a camera like the Canon R5C which only has a single 3.5mm stereo input, what would be the best way of doing this?

It seems a little tricky but my current thought was something along the lines of a field-recorder that can take up to 4x jack inputs or 2x jack and 1x 3.5mm aux stereo input

The MixPre's I think you can get like a sling bag for them which would make them a little clunky for this, while using something like a Zoom H5/6Studio you could belt or pocket clip it (there's a picture on the website showing something like this) then use the 2x lav module for it and then get any external dual lav Tx/Rx combo of choice.

As a total beginner here with this, how would you then go to rig this all up? As in, taking the Zoom H5/6Studio option... sure it's just a 3.5mm to 1/4" mono jack for the remaining 2x mics but then you need timecode.
By default the Canon has a DIN connector while the Zoom needs bluetooth using an Atomos module or can use a Tentacle SyncE module linked to an audio track... that's fine as you have 2x tracks remaining in the device

I guess you'd need another SyncE for the Canon too then? so how and where would you place these things?

Would you just stick them in your pockets or use a cage like something from SmallRig and either screw or zip ties these things somewhere?

If you wanted to add ambient sounds too, would you then just go ahead and Jam Sync the time code to the MixPre discussed earlier and leave that positioned statically somewhere?


Maybe I'm over complicating things here but from what I can see this is kind of the best way that I could think of to do this....?

How useful would timecode be in a situation where you need speed of setup? Neither Morten nor Petri talked about audio/video sync so I'm a little lost here!!


Any suggestions would be really appreciated :-) ]]> Under Water, Over Land Kaya Saman https://www.dvinfo.net/forum/under-water-over-land/539744-audio-nature-videos.html