What cameras are you shooting video with? Simple Sunday Survey #5

by planetMitch8 Comments

What cameras are you shooting video with? We asked planet5D subscribers which video cameras they have as well as which ones they are actually shooting with.

We also have a little teaser about the new RØDE NTG4 and NTG4+ as well as the RØDELink wireless lav system that we learned about at the RØDEShow 2015 this past week in San Diego California.

It was very interesting to see how many video cameras you peeps have! I was a bit surprised at some of these answers…

For those of you not on the daily planet5D email list (and I don't know why you're not!), I asked 3 questions this week…

  • How many video cameras do you own
  • How many of those do you shoot with regularly
  • What type of camera are they? (DSLR, SmartPhone, etc.)

Maybe you won't be surprised, maybe you will… have a watch or a listen!

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  1. I’ve bought a lot of Rode mics. So many, in fact, that if I were to add up the cost of the VideoMic, the VideoMic Pro, the Stereo VideoMic, the….

    If I were to add up the cost of all these, I realize now I should have used the same money and bought a quality mic from someone committed to building timeless quality mics, not the Rode stuff that is upgraded every year or two. Microphones are one area where there is really no new technology. Beware of companies more concerned with consumer packaging than with fundamental quality. And this is one area where you should look at old school brand names. The concept of a camera mounted mic is fundamentally flawed from the get-go. Yes, I run them, but only for throwaway sync tracks for double system sound.

    Rode wireless? Maybe so if you would otherwise buy a cheesy brand. But unless you want to be part of Rode’s learning curve and find your self wishing next year for the new Rode Wireless Pro, go ahead and buy Sennheiser or Lectrosonics.

  2. What camera do you own? I own a lot of stuff. Some of it I consider legacy. I’m not dumping Canon, but I’m not shooting video with it anymore. I’ve been renting A7s, using my Canon lenses. But I’m buying Panasonic GH4 and a surprising amount of Olympus M43 lenses. Wha is on my wish list? A full set of Voightlander f/0.95 M43 primes.

  3. DannyGrizzle Hey Danny – of course you’re entitled to your opinion (no matter how wrong it is LOL)… RØDE didn’t just show up one day and start making microphones for DSLRs, they’ve been doing it for something like 15 years. And older RØDE mics work just as well as the new ones… you don’t HAVE to upgrade if you don’t want to. Do you say the same thing about camera manufacturers? They put out new cams all the time!

    I appreciate you taking time to comment… I just happen to like my RØDE mics – both the ones I’ve paid for and the ones they’ve given me (yes they are a sponsor)… And I do often make recommendations to them for improvements… but that’s true for all the gear I own.

    Thanks for reading planet5D and being a valued part of the community!

  4. There is no parallel between digital camera technology and analog microphone technology. Just think how great the Beatles recordings would have sounded had modern microphones been available back in the 1960s… but wait! Fact is, recording made 50 or 60 years ago would not have sounded a bit better, because there have been no fundamental advances in the underlying technology of microphones.
    Don’t get me wrong. I’m not bashing Rode. They are a good mic. I own more Rode mics than any other brand. My most recent mic purchases were Rode, and I expect to buy additional Rode mics in the future. That’s part of the problem. Rode products tend to be good, but with room for improvement.
    It has not always been the case that technology got better. There have been cases where engineering priority was to build something right in the beginning, and then go about finding economies over time. Case in point: Standard Definition SD analog video,mwhich served very well for over 50 years. VHS represents the end of development, but it was not the pinnacle of quality. Nor was Betacam or 3/4″ U-matic. Not even 1″ Type-C which generally cost more than $100,000 per recorder in the 1980s was the technical best. In fact, in terms of signal quality, “Quad” video recorders with roots in the 1950s were superior.
    What Rode brings to the microphone party is modern CNC manufacturing, production volume, consumer retail channel management, and pricing. This approach is bottom up – they lead with cheap, and develop subsequent higher quality products. That’s fine so long as you realize that following the Rode incremental upgrade path may well cost as much as buying a superior product, if you can outlay the cash up front.
    Good audio is more important than visual image. People will listen to a radio without image, but they will not tolerate video images with messed up sound. So the case can be made that your choice of mocrophone and recorder is more important than choice of camera and lens. One thing about buying quality microphones – you won’t regret it, and you can expect them to last decades, even your entire career. Mics like that aren’t made of plastic, and they don’t have gimmecky designs like built-in rechargeable batteries.
    I like Rode, I buy Rode. But audio is important enough to obsess about it same as a camera and to familiarize yourself with some great companies and great products a little Above and beyond entry-level DSLR class gear.

  5. DannyGrizzle  Completely agree with you about how important good audio is to video and film production. It’s always my first priority on a shoot.
    My only nit is when you said, “…Fact is, recording made 50 or 60 years ago would not have sounded a bit better, because there have been no fundamental advances in the underlying technology of microphones.”
    I’m not certain of that, unless by “no fundamental advances” you mean the basic shared element of all microphones, a diaphragm. The essential schema of microphones hasn’t changed, but there have been incremental improvements.
    Here’s a good summary of them from David Moulton, an audio engineer and producer, author, composer, educator and acoustician. (www.davemoulton.com/profile.html)
    • Noise – we’ve seen a real drop in the noise floors of microphones and mic preamps, in an effort to keep up (er, down) with the noise floors now available from hi-rez digital formats. The result? Source recordings that are, at their technical best, far more transparent and free from obvious electronic artifacts than ever before, as well as more revealing of acoustical limitations and deficiencies.
    • Low level resolution – once again, an effort appears to be underway from manufacturers of condenser microphones to make their mics yield compelling detail at very low signal levels. The diversification of recording styles and genres has also fueled this.
    • Dynamic Range – we haven’t given up our high sound pressure levels, so we’ve had to develop microphones with some really stellar dynamic ranges – finally, at 130 dB, almost equal to what the human ear is capable of perceiving.
    • Timbral color – manufacturers have an increasing awareness that the way a microphone “sounds” is probably more important than ANY of its other virtues, and they seem to be paying increased attention to the nature of this often ineffable subjective quality.
    • Directionality – the best directional microphones are getting a lot better at achieving decent frequency response off axis. This results in greatly enhanced stereo and surround recordings and imaging, as well as performance stability.

    (Source: www.moultonlabs.com/more/brave_new_world_how_microphones_have_changed/)

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