Pro Moviemaker May-June 2021 - Web


5. WIRELESS FOR SOUND By far the most common remote

transmitters, recording on different channels and outputting them separately to your camera, via the MI shoe or a pair of XLR leads. The receiver has a third input for another mic. Typically, this could be another lav mic, a small stereo mic or ambient sounds. Sony also has a new range of all-digital UWP-D transmitters and receivers. They’re even more compact and designed for the very latest digital audio systems, housed inside some of the newer Sony cameras. Meanwhile, Chinese firmHollyland has the two-input issue covered, with its Lark 150 Wireless Dual Mic System (£312/$339). This kit comes with a single receiver that fits into the camera’s hotshoe and plugs into the audio jack. There are two separate transmitters, one for each interviewee. Each has a built-in omnidirectional mic, simply clipping the small transmitter (TX) box to the interviewees’ clothing. A pair of decent-quality lav mics are also included. That means you can hide the TX unit, plug in one of the lav mics and clip the unit to a belt, or hide it inside a piece of clothing. The TX unit sizes up at 37x37x17mm/1.5x1.5x0.7in and weighs just 21g/0.05lb – it’s very easy to hide. The receiver (RX) and both transmitters fit inside a custom-made charging case, which takes power via USB-C. All three bits of kit are charged simultaneously, while the TX units are always paired with the RX. The kit is available with a single transmitter, too. Saramonic’s solution is the new Blink 500 Pro series, comprising two kits: the Blink 500 Pro B1 and B1W– featuring a single transmitter – or the Blink 500 Pro B2 and B2W that offers two transmitters and a receiver boasting dual-input capability.

filmmaking technology is the trusty wireless audio system, eliminating running cables from a mic to your camera. From lapel mics to handheld reporter mics, shotguns on booms, or even smartphone plug-ins, wireless audio sound systems crop up everywhere. The most popular remains a wireless lav mic. An interviewee wears a clip-on mic, either in full view or hidden, leading to a wireless transmitter box. This sends a signal to a receiver box that plugs into the camera or recorder via a cable. Lapel mics have omnidirectional or cardioid pickup patterns. The former doesn’t need to be pointed at the speaker’s mouth, but picks up other sources. Cardioid mics are more directional, and require more precise positioning. The market is fierce. Rode, Sennheiser, Saramonic, Sony, Hollyland, Kenro and more offer different wireless systems. There are all manner of sizes and prices to suit every budget. At the affordable end, the Saramonic SR-WM4C wireless kit retails at about £95/$93. It includes a lavalier mic and transmitter unit, relaying its signal up to 60m/65yd. A more advanced model is the Audio-Technica ATW-1701/P1 (£364/$517), boasting a cardioid condenser lav mic and compact receiver. You can control audio levels, plus there is an independent volume control and headphone jack. For many years, one of the biggest issues for filmmakers was recording two people at once. This has often called for two separate systems that are recorded independently, or combined with a two-into-one adapter cable or mini mixer. This adds complexity, cost and the potential for something to go wrong somewhere. But there’s now a range of more integrated solutions. First, Sony offered up its UWP-D wireless audio systems, designed for the brand’s cameras that have a Multi Interface Shoe. The dedicated receiver unit attaches to the camera – no cables necessary. Your camera recognises the unit, automatically taking its audio feed from there, while the camera battery can also supply power. On top of that, there are options to plug the receiver into the camera via a conventional cable, so it functions with all types of bodies. The URX-P03D dual wireless receiver costs £649/$579, adding an additional £39/$65 for the MI Shoe Adapter. This accepts signals from two separate

AUDIO OPTIONS The Sennheiser XSW kit (top) and the new Rode Wireless Go II (right) are small and compact solutions that capture sound without long wires getting in the way



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