MINI TESTS
SPECIFICATIONS Frequency response: 23Hz-18kHz Signal-to-noise ratio: 98dB Display: LCD Analogue output: -12dB to +12dB Headphone output: 3.5mmstereomini jack Power: 2x AA batteries/ 5v DC via USBmicro-B Battery operating time: 5 hours Dimensions (WxHxD):
SONY UWP-D DUAL WIRELESS RECEIVER £649/$579 sony.com
Recording sound from a talking head- style interview isn’t much of an issue; the most popular solution is to use a lapel mic plugged into a wireless transmitter, which sends the signal back to a wireless receiver plugged into the camera. But it doesn’t take long to realise that a more challenging technical issue is recording two people taking to each other. You need a second lav mic, transmitter and receiver unit, doubling the expense, amount of kit and set-up time. If you are using professional-style cameras with dual XLR or jack inputs, you can plug both receivers into the camera and work out some way of rigging the packs up. The same is true if you are using a separate recorder. But if you want to record to a typical DLSR or mirrorless camera, or even a smartphone if you’re vlogging, then you’re flogging a dead horse as there is only one audio input. You can get two-into-one cables to plug into both receivers then into the camera, or go via an on-camera mixer, but you’re balancing two receiver packs and cables on top of your small camera. Sony has come up with a neat solution that has huge advantages if you are using one of its mirrorless cams or camcorders, but also works for other brands. The UWP-D portable two-channel receiver, officially called the URX-PO3D, costs £649/$579 but can receive the signals from two separate transmitters which it records
“Sony has come upwith a neat solution that has huge advantages and alsoworks for other brands”
63x82x28.4mm/ 2.17x2.89x0.43in Weight: 160g/0.35lb
on two separate channels. It then can output them both separately to your camcorder, via a pair of XLR leads which come with the pack. Or if your camera has a single minijack audio input, using the included two-into one cable. You can also set it to mix the audio from both channels so that combined signal is outputted to two channels. So instead of one mic coming from the left speaker and another from the right, both come from both speakers. You’ll still need two separate transmitters; a pair of Sony’s UWP-D belt pack UTX-B03 transmitters cost £398/$499 each and each set comes with Sony’s ECM-V1BMP lavalier mic as well as cables and belt clips. So now you’re up to £1445/$1577, but it is a slick solution and you have top- quality components that will last. A real bonus for Sony users whose cameras have the Multi Interface shoe is that by splashing out an additional £77.98/$69.99 for the SMAD-P3D shoe, this connects to the receiver unit and sits on the camera hotshoe. Then there are no cables needed, as
the camera not only recognises the device and records the audio but also uses its own battery power to keep the unit running if the pair of AA cells start to run down. It’s a simple plug-and-play solution for great audio. Setting the units up is also easy, as the transmitter scans for the best available channels, then you hold the receiver next to the transmitter which uses an infra red signal to sync it up. It’s done in seconds, or you can manually dig into the menus and set the channel and frequency and other things like gain level, too. The receiver has a third input for another mic, which typically could be another lav mic or a small stereo mic. If a lav mic is used, it could be on an interviewer asking two people questions, for example. Or a small stereo mic can be used to record ambient sound, while the two lav mics record the speaking subjects. So you can mic up a bride and groom for their vows, then the stereo mic records the ambient noise in the church. It really does open the door to much more creative audio. AD. PROMOVIEMAKERRATING: 9/10 It’s a small, neat solution that works for all cameras Pros: Easy and neat solution to
LEFT The kit works with Sony cameras but is equally effective with other brands
recording from two lav mics Cons: More expensive than a conventional receiver
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WINTER 2019 PRO MOVIEMAKER
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