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    #21
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    Quote Originally Posted by Michael Erlewine View Post
    I have the Nikon D850, but have never messed with the video. what exactly do you use with it for audio, if you don't mind specifying that.
    I've got two Sennheiser G3 wireless receivers going into the Shogun Inferno via the included XLR breakout cable. The D850 has a Rode Video mic plugged into it for nat sound, and that also goes into the Shogun Inferno over the HDMI so files from the Shogun Inferno all have 4 audio channels (though because I'm not using a stereo mic channel 3 & 4 are duplicates). I've got 4 frames of offset on the analog inputs to make it line up with the HDMI input.

    I monitor from the Shogun but it only lets you monitor a "pair" of channels - either 1 & 2, or 3 & 4, so I'm usually monitoring the lavs with the headphones, and glancing at the meters to check that the Rode mic on the D850 is at a level somewhere in the ballpark.

    One cool thing I've found about using this setup, is that I can shoot slow-motion and still have sound at the same time - while recording a silent, 100p version in camera, the Shogun will record a 50p real-time stream which includes the audio from the XLR's. Great for action where you want to be shooting slow-mo but also want to be getting some audio grabs.
    VIDEO PRODUCER ON THE NSW NORTH COAST, AUSTRALIA
    Sony FS700 || Shogun Inferno
    Adobe CC 2018


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    #22
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    Quote Originally Posted by Michael Erlewine View Post
    I am wondering what adapters/kits would you suggest I look into to add XLR connector(s) and Rode mics to the new Nikon Z7 mirrorless?
    IMHO you need at least four things to record decent sound with any camera, including yours.

    1) Balanced XLR inputs with switchable 48VDC phantom power for each input
    2) Excellent mic preamps for each input (no camera has excellent mic preamps)
    3) Excellent limiters for each input (good limiters can really save your bacon on occasion)
    4) Excellent metering so you can see at a glace where your levels are

    Those are requirements for me. There are also some "wants" but I'm sensing you aren't ready for that yet. But you will have at least one want -- it has to give you an output that your camera wants to accept. Typically for DSLR style cameras that's an unbalanced stereo mic-level output, but more pro-level cameras can take balanced line-level XLR inputs (I don't think the Z7 will have that).

    External devices that can do this include the old SD MixPre-D which can be had cheaply from the used market. You can even get a camera mounting bracket for it. I actually use my MixPre-D for this exact purpose (but not with a Z7 of course) so I know it works great. And of course it can give you mic or line-level output, balanced or unbalanced, in just about any format a camera could possibly want, because SD specifically designed the MixPre-D for this duty.

    The only problem with a MixPre-D is, if your audio sounds bad you can't blame it on the MixPre-D. If your audio sounds bad, it's all on you.


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    #23
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    To me, the obvious path would be to pair the camera with a Video Devices recorder paired with their XLR modules. All the on-camera audio features you could ask for. Great monitoring features, and a simple singular recording point that captures both your 10-bit video and high-quality audio.


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    #24
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    For maximum compactness and cuteness in a field recorder, then buy the Sound Devices MixPre3.

    For maximum bang for buck and for more features with the best design in a dirt cheap sub $1K recorder, then buy either the Zoom F4 or the newer Zoom F8n.

    You mention Rode mics? I hope you mean the NTG3, probably the only worthwhile one investing into that they have. (unless into ambisonics... I want that Rode NT-SF1)

    There are other a) better mics or b) better value mics out there.
    Am a Sound Recordist in New Zealand: http://ironfilm.co.nz/sound/
    Follow my vlog and adventures in sound: https://www.youtube.com/c/SoundSpeeding


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    #25
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    Quote Originally Posted by Bruce Watson View Post
    External devices that can do this include the old SD MixPre-D which can be had cheaply from the used market. You can even get a camera mounting bracket for it. I actually use my MixPre-D for this exact purpose (but not with a Z7 of course) so I know it works great. And of course it can give you mic or line-level output, balanced or unbalanced, in just about any format a camera could possibly want, because SD specifically designed the MixPre-D for this duty.

    The only problem with a MixPre-D is, if your audio sounds bad you can't blame it on the MixPre-D. If your audio sounds bad, it's all on you.
    For many years the MixPre-D (or the earlier original MixPre) was an excellent first class choice.

    But when the Tascam DR60D / DR70D / DR701D came out then the MixPreD started to lose its relevance for many people.

    Then the final nails hammered into the coffin was when the Zoom F8/F4/F8n and Sound Devices MixPre3/6 came out, then the MixPre-D lost 95% of its relevance for this purpose for most people.
    Am a Sound Recordist in New Zealand: http://ironfilm.co.nz/sound/
    Follow my vlog and adventures in sound: https://www.youtube.com/c/SoundSpeeding


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