This is my setup for basic narration, VO and podcasts.
Thanks to Sam Ash music for the free On Stage desktop mic stand! It’s nice that I could ride a bike to your store, if my bike hadn’t been stolen a couple of years ago…..
This setup allows use of 4×4″ Tiffen ND filters, I have a 3-stop and a 4-stop which fit into the matte box for preserving wide lens apertures. That way, shallow DOF is covered for EFP and occasional ENG applications.Of course, all the other benefits of the matte box apply such as making lens changes fast and easy, and virtually eliminating flare.
The configuration is compact, secure, and very adjustable along the medium-length carbon fiber rails. Critical focus in bright light is achieved with the Hoodman Custom Finder.
As an option, I can add the Manfrotto DSLR remote controller for rack focus and faster ergonomics in starting and ending clips.
The Benro components are much better suited to this kind of arrangement on a monopod than my RedRock Micro components, especially the baseplate assembly. The RRM lacks screw threads for connection to the QR fo the monopod.
Functionally, it’s a little imbalanced from frontloading and the tilt is not as smooth as the pan, but overall I feel that the versatility of the rig more than compensates for these considerations.
It also travels relatively well, because the matte box can be broken down further for packing.
This is not going to yield the degree of camera movement possible with a shoulder rig, but I find it much better for longer ENG recordings since the monopod, and not my arms, support the system. It’s also easy to combine both, if a multicam shoot is desired.
After a period of use with and without my other DAR (Zoom H4N) employed as a stereo microphone source, I have more comments about the Tascam recorder. The key words I ‘d use to describe my experience with it are EASY and INTUITIVE.
It’s much easier to access the SD media card than with the Zoom model, because of the simple rubber cover which also reveals the AC adapter/USB port.
Ability to easily and rapidly isolate and monitor whichever channel I wish with headphones, or a mix, or CAMERA IN, and to lock the XLR cables to the inputs, are welcome changes from the H4N.
I use the rapid, intuitive ‘delete recording file’ process routinely, and this is much easier to do than with the H4N- yet another example of using dedicated buttons instead of submenus to make the recorder user-friendly. These buttons are very quiet to operate, and I so far don’t see a need for getting its remote control unit.
The DR-60 is very compact, and lighter than the H4N; I can easily carry it all day and it mounts well onto rigs and monopods/tripods with option to mount cameras directly atop it. The bracket for camera attachment is easily removed if the location on a rig suggests it to be necessary.
The real-time Equalizer function is very helpful to preview the treble/bass mix of a track and therefore, evaluate the outputs of various microphones relative to this recorder. It’s a simple matter to avoid proximity effect with shotguns, for example using this method (this is of course not an issue with omnidirectional mics).
I’ve found that the sound quality is very good using the H4N as a stereo mic input into the 3.5mm Ch3/4 input or as an XLR connection. So both recorders can very effectively be used together, even if there are no stand-alone microphones available.
Second, I ‘ll use the H4N for most multitrack recording because of its additional capability in this mode compared to the Tascam.
And it will be used as an audio interface to my Cubase LE6 digital audio workstation on my notebook-a feature not offered by this unit.
This setup works well for daylight-lit ENG; I usually add a Stellar ST-3000 LED light and a 6″ cold shoe rail when artificial light is needed.
This group fits into a Lowe Pro Flipside 400 pack and includes:
Canon5D3 w 24-105 f/4 L
Rode NTG-2 shotgun mic with deadcat and shock mount, headphones
Tascam DR-60D DAR with 2 x 3.5 mm short cables to run to and from the camera
Audio Technica Pro70 wired lav mic w dead’marble’
2 XLR cables, 6′ each
3X 3″ loupe
The Benro S6 video monopod goes into its own case to the site of the events.
These are some of the items I use to create audio recordings for AV projects.
2 digital audio recorders: Tascam DR-60D (general production) and Zoom H4N (music, overdubbing; direct recording via XY stereo mics)
2 sets of headphones: Tascam and AudioTechnica (AT)
Rode Stereo Video Mic Pro, mainly for environmental sound and music
Not shown is the AT 8004L dynamic omnidirectional stick mic, used mainly for ENG in-frame
The Pro70′s are also good for guitar recording via the specialized holders, shown with green felt liners in the corresponding images.
This is an illustration of the 4 fluid heads and associated equipment I use for video stabilization.
The Induro hi-hat yields low-angle and tight interior shots, for example; the monopod can provide sweeping ‘jib’ shots and the tripod specializes for Dutch angles. All contribute to multicam shooting.
The heads from Benro are S6 on monopod, and S8 flat base.
The 75mm bowls on the Manfrotto video tripod and hi-hat allow seamless transfer between their respective heads.
So what? This combination is FAST and secure to use.That means I have more time to be creative and waste a lot less time and effort switching cameras for obtaining specific shots!
I’ve been using this unit alone so far, not integrating with the Zoom H4N using the latter as an XY stereo microphone input, and with the Canon 5D Mark III camera which has a headphone jack. This jack has been used as a camera-out jack to connect to the DR-60′s CAMERA IN jack, allowing very intuitive and excellent review of the mixed audio files sent to the 5D3 from each take while reviewing the corresponding video clips.
This feature, internal adjustable audio slating and the highly sensitive pre-amps have already made the Tascam my primary recorder for documentary and narrative film production (EFP).
The large number of buttons make diving into menus much less frequent. A very important issue is the ability of this unit to independently assign phantom power to microphones- so that I can revert to a preferred setup of a powered Rode NTG-2 shotgun while mixing with other mics which do not need phantom power or might even be damaged by it.
The XLR inputs are locking type and access to the SD media card is very easy- both upgrades from the Zoom H4N.
Yet another much-appreciated feature is the automatic revert-to-MIX monitoring when switching from listening to the camera’s files to resuming recording- a real timesaver, as you don’t end up having to possibly redo the take because the DR-60 was still on CAMERA IN monitoring!!!
I do wish that the buttons were backlit for low light, but consider that a minor issue.
For conservation of battery power, I obtained an AC adapter easily (driving directly to the warehouse in Carson, CA) and it appears to function very well so far.
I would usually default to the H4N for field location scouting, recording at lecture settings and routine note-taking / EFP simply because of its XY microphones. Either may be used for travel because of their compact, lightweight form factors.
The images included show the DR-60 on a RedRock Micro Cinema rig with Canon 5D3, 135mm f/2 L lens, Rode NTG-2 shotgun and Audio Technica 88W wireless lav microphones; the wireless receiver is on the camera’s hot shoe. My atrium definitely needs to be cleaned up-soon….