IronFilm

If you're recording in an actual working active busy restaurant/nightclub then you are *FVCKED!!* for audio. However if it is closed for the day, then yeah if you have a bit of whispering from extras on hold in the next room over (the bane of my life a couple of days ago! The problems when you have 50+ people on set and no 2nd/3rd ADs, heck almost no 1st AD really!! Ditto no walkie talkies. Sigh) or have a bit noisy pre amps from an old H4n (ugh!) then you'll possibly be just fine once the busy soundscape is laid on top in post. (you might run into issues at quieter moments in the edit, such as when you're doing a tense close up and you want to drop down the background ambiance you've got in the sound design)

Q:What is better than being on a 48Hours Team? A: Being on *TWO* teams at once! As I worked late through the night and barely slept... But by my own choice, because I'm certifiably insane! As after we wrapped I then went and joined another team to do their sound through the night.... I must be mad. Then after a very late finish last night with the other team, I got up early in the morning to help on sound post for my main team for 48Hours! We're getting closer, the finish line is creeping up.

I'm vlogging during 48HOURS, which is a film contest in NZ that has been running since the dawn of time, that hundreds and hundreds and hundreds of teams across the country compete to make a complete short film in only 48hrs! :-o I'm on the team which won last year, "Cool Story Bro". https://www.48hours.co.nz

Did I ever share this recent video? Not only are we shooting with an Arri AMIRA in public, and I'm fully rigged up in my sound gear, but heck the producer even goes and asks the construction road workers to stop! You can "get away" with an awful lot.

If you're using any external recorder which is at least as good as say the cheapie Tascam DR60Dmk2 and it is set up right then you don't need to greatly worry about self noise for YT standards at all. Eneloops are your saviour when it comes to whatever audio gear it is you're using. Or close clone alternatives such as LADDA Rycote just makes the BEST shock mounts. And Rode licenses it from them.

This. We have seen it from cameras like the URSA Mini and even bizarrely from Panasonic themselves with their EVA1!!

Sometimes I wonder if people are doing something else which are making them look dodgy and creates attention. As heck, I'll happily shoot in public on the street with a my "big" PMW-F3 rigged up with mattebox etc and a boom op and a gaffer, without a second thought. No big deal.

https://edictzero.wordpress.com Ah right, I glossed over the word *audio* in "audio dramas". That was an unexpected twist, because this is not exactly relevant to what we're discussing here, which is audio for picture.

Or just pick up the Behringer UMC22 for twenty bucks ish. No. Neither can the F8 (in fact it seems like it would always be an entirely dumb idea to use the EXH6 with the F8! As you loose two tracks. Maybe the F8n would allow 10 channel recording... I'd hope so!) I'm 100% positive some part of that sentence is false. Citation please. Extraordinary claims need extraordinary proof.

Nah, not really at all, because it doesn't provide phantom power. Sooooo.... you'd still need to lug in something like say a MixPreD, defeating the entire purpose of trying to use the EXH6?! Or at least in that situation. Having said that, I do indeed own a EXH6, as it is quite useful for a totally different purpose (accessing 5/6 on the F4). "Reviews" be default tend to be quite positive, especially when it is a flashy new toy. And yeah, people get wowed by its "swiss army knife" nature. Yet in reality I think it would have been better off if it tried to do just one thing WELL, and take head on the DR10L/PDR. Smaller, size is everything with a bodypack recorder. Also no safety track. (arguably essential if you're unable to monitor the audio!) A deadly double blow to the F1. New the H6 is $350, new the F4 at B&H is $450. That difference is nothing when you think about what a steal the F4 is.

The F1 is fundamentally a bodyback recorder, everything else is a bit gimmicky, and in my eyes the DR10L (or DR10CS) is clearly a better choice as a bodypack recorder. H6. But why buy it when the Zoom F4 is shockingly only one hundred dollars more? Seriously, that is insanely crazy cheap when in context like that!!! wtf, as the F4 and H6 are galaxies apart, as the F4 is so far ahead. You'd almost wonder if they're made by the same company or not... :-P (for sure if they had the "Sound Devices" brand name on them but otherwise the same, you'd find people heaping praise on them!) Or the Tascam DR70D / Marantz PMD706 can be found cheaper, and are much more ergonomically bag friendly (than the H6) for a boom op juggling all the jobs in their department.

Pro tip when passing through airports, or interacting with cops in general, do not refer to your BOOM pole or your SHOTGUN mic. (but me being me, I've done both of these things)

Go for the newer DR60Dmk2 over the old DR40 And if you don't have money for both a field recorder and bodypack recorders, then just get the bodypack recorders (and go for DR10L over F1). As it seems it is better suited for your needs. (and sacrifice a goat on a hilltop at full moon to the gods, in the hope everything will go well, as you're essentially shooting this deaf without monitoring what you're doing)

To many spammers hiding away in this subforums :-(

Your cops must be a hell of a lot more bored than mine. Where are you, the USA? I've heard of how the USA is becoming more of a "police state", but come on that is just ridiculous!

By a bit of a coincidence, I stumbled across today someone else who mentions the Saramonic recorder. He has one word for it: "horrible". http://jwsoundgroup.net/index.php?/topic/31502-best-small-format-recorders-for-planting/&do=findComment&comment=347253

It isn't line out, it is a mic level output. I'd rather have the slimmer Tascam DR10L as talent bodypacks than the bulkier Zoom F1 In the article (as I state at the start) I'm almost exclusively focusing on field recorders for the aspiring PSM, thus only looking at the low end options (with barely a brief glance at some low-mid options such as 633 getting a quick mention).

I don't understand this either... why does it have to be solo? Ask around, find someone else in the indie scene, or drag in a relative/friend, or heck even use a spare actor as a helping hand for the crew! Filmmaking is fundamentally a collaborative team effort, to try and always do it solo is like someone always training at rugby solo then wondering why he struggles to play rugby effectively?! Gee, no surprises there as to why mate. But if you're firmly stuck in your ways, I'd suggest finding whatever cheap secondhand G3/UWP-D11/RodeLink/etc that you can find, together with a Tascam DR60D (or Marantz PMD-706 if you really need more channels). Or just get a few Tascam DR10L on sale. Or even simply one Tentacle Sync E plus a few Aputure A.Lavs, as the ultra low budget way to do it with a relatively easy workflow. (if each actor has an iPhone available to use, or just buy a few rough looking secondhand iPod Touch for around the same as a Tascam DR10L if not even less. https://itunes.apple.com/nz/app/timecode-audio-recorder/id1322011386?mt=8) Good, so no need at all for the recorder(s) to be connected to the camera at all.

In detail, this is what I'd get personally with that budget: chinese 3.5m carbon fibre boom pole + secondhand Tascam DR60Dmk2 + secondhand NTG1/ME600/ME66/Deity/AT4073a (whatever can be found cheapest, as budget is beyond tight) + Samson C02 + Rycote INV-7 + Rode WS6 + USB powerbank (5000mAh should be enough, 1000mAh if you want to be cautious and have something extra to charge your phone too) + 4m XLR cable + cheapie camera shoulder strap + a strip of velcro. I do not at all understand why the H6 is fine but the DR60D is "too big", they're more or less the same, six of one, half a dozen of the other. And if you do want to be super ultra discrete then just sling the recorder into a casual side bag hanging on your body, and in that configuration the ergonomics of the DR60D becomes drastically preferable over the H6! Thus I don't understand why a person wouldn't want to choose not just the cheaper option (as they're on an extraordinarily tight budget) but also the better option as well. Additionally, I don't see the problem with using a boom in public, I do it all the time. (people care about what you're doing less than you think)

Car cameras is a massive market, could have been a reasonable pivot/sideline for GoPro to have approached that niche as well. Lots of missed opportunities have happened for GoPro unfortunately.

Not a great supporter of using a dedicated external pre amp prior to your recorder in this day and age if you're on a low budget (bit different when people only say had an H4n, then putting in say a MixPre/302 could make a massive difference, but we're in 2018 now), as the added cost/size/weight/complexity just doesn't add up to make sense. With the price of the Beachtek DXA-MICRO PRO Audio Adapter I'd suggest to just buy a Tascam DR60Dmk2 instead, which has pretty darn good pre amps for its low low price and you get a recorder with it too! ;-) (I checked the listed specs for each, and yes the Tascam has a better S/N Ratio than the Beachtek) As a low end pre amp (which all of these are, except the MixPre3, which is a recorder too) is *not* likely to outperform a solid recorder's pre amps such as say the Zoom F4 (or even a DR60Dmk2). And the Zoom F4 is an even greater bargain! ;-)

I'd be running a lav, thus I vote for a screen that flips up/down!

Yup, no Zoom recorder would interest me professionally other than the F series. (well I have the H1 which I purchased when I was the student)

An H1 is "too big"?! The mind boggles.... Perhaps get a Tascam DR10L to use on talent? Please no. Just because people have done this (I've also seen people use broom sticks as boom poles! ha), doesn't mean you should do it!! I wrote up last year my thoughts on the best pics for a recorder: http://ironfilm.co.nz/which-sound-recorder-to-buy-a-guide-to-various-indie-priced-sound-recorders-in-2017/ The only notable changes since then in this niche is the MixPre10T announced and the Marantz PMD-706 shipping. Zoom F series pre amps are right up there at the same level. And the Zoom F4 has more features and a lower price than the MixPre3. Personally the only strong reason to get the MixPre3 in my eyes is its small size, it is shockingly small. So if teeny is what you want, go for MixPre3!

Wish there is a camera with a 1" sensor but a prime lens rather than the zoom lens of a RX100/RX10/etc Something like a fusion between a RX0, RX1, XF100, and a RX100. A compact camera with a 1" sensor and a prime lens, that can easily slip into even a tight jean's pocket.