The third and final video in my exhaustive, three-part analysis of the Zoom H5 portable recorder is a shootout of shotgun microphones. I compared the sound of the separately available SGH-6 shotgun capsule against the Rode NTG-2 and NTG-3 shotgun microphones. To keep things interesting, I also included the Audio-Technica AT4053b hypercardioid microphone and the XYH-5 stereo microphone capsule Continue reading Zoom H5 Shotgun Shootout: SGH-6 vs. Rode NTG-2 vs. NTG-3
When you’re looking for a budget-friendly yet capable audio recorder, three models will likely show up on your radar: the Zoom H4n, the Tascam DR-40, and the new Zoom H5. All three feature good sounding stereo microphones, dual XLR inputs for external microphones and signals, and, most importantly, entry-level price tags. In addition to how you feel about the layout of their various controls, and the overall vibe of each recorder’s design, it’s important to determine which model sounds best to your ears. This last differentiator is the reason I created this post. Continue reading Audio Test: Zoom H5 vs. Zoom H4n vs. Tascam DR-40
There are several budget-friendly audio recorders available that are capable machines for recording sound in video productions, and the Zoom H4n and the Tascam DR-40 stand out as popular favorites. The new Zoom H5 recently arrived on the scene, and I finally had the chance to use it. On paper, I was aware of the new features it offered video people before I ever touched the thing. When I used the H5 for an extended period, I discovered a few more things that make it more attractive for video production, and I found some things that could be improved as well.
For starters, the most obvious thing that sets the Zoom H5 apart from the pack is its interchangeable microphone module port Continue reading Zoom H5 Review + Why It’s Useful in Video Production
If you were instructed to visit an electronics store and purchase a smartphone that didn’t have the ability to shoot HD video, you would have a tough time. This feature was only found on select high-end phones a few years ago, but now it’s nearly universal. The same rule now applies to digital cameras and built-in Wi-Fi. If you’re a manufacturer and you’re releasing a new camera in 2014 that doesn’t have built-in Wi-Fi, you’re taking a big risk.
In our post-2007, post-iPhone world, it can be misleading to define oneself as a “gadget geek.” When you consider that the majority of people in the United States now own a smartphone, this particular term becomes distinctly trite. To truly be a gadget geek, you need to do better than being a smartphone or tablet nerd. You need to embrace bleeding-edge gadgetry in unusual product categories. You need to be a true dork.
I did it. After five years of nonstop iPhone, waking up with the iPhone, sleeping beside the iPhone, keeping the iPhone with me at all times… all the time, I finally switched to an Android phone. I’ve had the Nexus 5 for an entire month. Would I recommend other iPhone users make the switch? The answer is no. Kind of.
As much as I love my Panasonic Lumix 20mm f/1.7 pancake lens, I wish it was even smaller. This is the story of modern photo gear: we’ve got amazing cameras built into our mobile phones, now we just need amazing lenses that are somehow miraculously compact. Recently, the Olympus BCL-1580 came to my attention. It’s compatible with my trusty (and discontinued) Panasonic GH2, and it’s only $50. Plus, it’s drastically smaller than my 20mm f/1.7. Game on! I needed to try this thing. Pancake schmancake. I’ve been wanting a “crêpe” lens, and it seemed like it was finally here.
I committed to shooting strictly in Manual Mode at the beginning of the year, because I could see an improvement in the image quality of my photos, and I felt more of a bond and sense of ownership over my work (you can read about this process in this post). In order to push the quality of my work further, I knew the natural thing to do was to start shooting in the RAW format, however, my ancient copy of Photoshop CS3 was incapable of processing these files. I didn’t own post-production software that allowed me to shoot in this mode.
I recently had the opportunity to try out the Sony 30mm f/3.5 Macro Lens on a NEX 5 mirrorless camera. I only had access to this camera and lens for a short period of time, but it was long enough to get a basic feel for it. I figured I’d share my thoughts and a few pictures I snapped.
To kick off this review, I’d first like to provide a quick lesson about ND filters. Basically, an ND filter acts like tinted sunglasses for your lens. They dim the amount of light that comes in, so you can open up your aperture when shooting in bright sunlight. Shooting with a maxed out f-stop in a bright environment lets you achieve creamy, blurred backgrounds by selectively focusing on your subject. You can also shoot longer exposures than you would have otherwise. Without the tinted filter in front of your lens, employing these techniques would leave you with overexposed images. That’s why ND filters are a great creative tool for both video and stills.