Fujifilm X-T2 and microphones Pt.3

The final part of my video microphone and sound recoding test series isn't actually directly to do with the Fujifilm X-T2 camera. It is, however, about something which can have a big impact on the quality of your video production's sound and greatly improve the professionalism of your set-up...The digital audio recorder.

A lot of experienced DSLR/mirrorless camera videographers prefer to separate the audio recording part of their video production from the actual filming process. The main reason for this is the generally feeble sound recording abilities of these cameras (which were really never designed with high-fidelity audio in mind). Specialized external recorders, on the other hand, have a host of features which allow you to get a much-improved audio recording, equipped - as they are - with far more capable inputs (XLR) and sensitive circuitry.

The DR 100 has a selection of microphone inputs,as well as its own integral mics.
It has stereo XLR inputs, so you can connect professional studio mics for 2x mono
interviews or for stereo recording of events or performances.

The other advantage to using a separate primary audio recorder is that - if you still use your camera's inbuilt audio recording facility - you will have the security of having a back-up of your sound recording, just in case (I've had a couple of occasions in my professional career where - through technical issues or equipment failure - this form of back-up has saved my skin).

The Tascam's integral stereo mics are very handy for off-the-cuff reporting-style
interviews (if you don't have time to set-up an external mic). They are of reasonable
quality and a nice option to have at hand.

When I decided to buy a digital recorder I originally wanted the same one that I used to use at my former place of work - a Marantz PMD 600. But these solid pieces of kit are out of production, so I had to look elsewhere, and I came across the Tascam DR 100 Mk II on eBay. It was the older model and has been superseded now, but at half the price of the DR 100 Mk. III (£350 new) I felt that I had a bargain.

The separate audio recording device offers you a unique logistical advantage in that it can be located at a great distance from your camera. Say, for example, you are filming a lecture or other stage presentation, it's likely your camera will be set up some distance from the subject and running a cable to them will not be practical. So, you can set-up your recorder on the podium, have your camera in the wings or on the floor of the hall for a wide shot and  still be safe in the knowledge that you will still get good quality sound! (Another advantage of the digital recorder - in the above sort of scenario  - is that you can hand the recorder over to a stage manager/AV Technician and they can plug it into their mixing desk, for the best possible quality audio signal.)

The DR 100 takes SD memory cards and can record to a variety of file formats
and file sizes/quality. The resultant file can then be taken into your preferred
editing software and synced with your video footage.

Finally, recorders like the Tascam can allow you to record a voice-over or commentary separately from your film shoot, or allow a talent to record a piece for you.                    

The TASCAM DR 100 audio recorder
Here I illustrate the X-T2 camera's internal sound recording capabilities, or - rather - the lack of them. I recorded this test piece with the camera's internal mic settings at '10' (50%), just so you can get a feel for the weediness of it's pick-up. Then, in the second half of this clip, I amplified the volume and applied noise reduction in Audacity, before syncing the resultant .wav file...

Not great (you can hardly hear the dialogue in the first section)! I could have dialed the camera's pickup level to 75% or even 100%, but then you run the risk of the soundtrack being very noisy. But as it is, when I boosted the volume with Audacity - for the second half of the clip - that produced a little bit of distortion.

Just for comparison sake, here's a short movie illustrating various levels of the X-T2's audio level settings (from 50% to 100% pickup levels)...

To me, 4 feet between the camera and the interviewee seems a reasonable distance, though, obviously, the closer you go the greater the audio volume. But, there again, you don't really want to be so close that you are sticking your lens right in the face of your subject (hence, four feet). The camera's built-in audio pick-up struggles, and also, the more you increase the pick-up level the more you suffer from incidental 'hiss'.

And, finally, here is the original sequence with the TASCAM DR 100's audio applied...

This audio was edited using Audacity (to amplify the volume a tad and reduce some hiss). Even though my test samples weren't rigorous or scientific, I think it's clear that the TASCAM produces a better quality recording which is richer and has less distortion than the recording made by the camera.

(I had the DR100's pickup volume setting set at '5' - 50% - so I have plenty of room for boosting the recording levels if I want.)

I'm not competent in my use of the DR100 yet (by a long chalk), there are lots of recording options and variables that I haven't figured out yet. It's pretty certain that I could improve on the quality of my recording with a bit more experience.

Fujifilm X-T2 and microphones Pt.2

Rode VideoMic Pro and Stereo VideoMic Pro
Moving on from setting up and using a lapel microphone - which is great for set-piece interview situations - I now want to look at a couple of microphones that are ideal for fast-moving and minimal kit shoots (or 'run and gun' situations, as they are known).

An area of videography that interests me is the documenting of events, like conventions and festivals. These can be very challenging for the lone filmmaker as you have to minimise the amount of equipment that you are carrying so that you are mobile and responsive to the events around you - and bear in mind that you will likely working in the midst of crowds of people - but, at the same time, you have to carry the right equipment to capture what you need. A tricky juggling act.

Event and convention work can incorporate two quite different formats of filming, the capture of general ambience and the more focused interview. Trying to do this with, more or less the same kit (as you don't want to be continually unpacking and setting up new kit), is possible thanks to excellent quality compact gear like the Rode VideoMic series of microphones.

These mics are camera mounted - via the hotshoe - and are light-weight but have become something of an industry standard among DSLR/mirroless camera videographers.

The Rode Stereo VideoMic Pro
The stereo mic, as you can imagine, is (to quote Rode themselves) 'ideal for recording music, and the atmospheric ambience essential in building a realistic audio scene.' In other words, the SVMP is good at sucking in the atmosphere of a scene, giving your audience a sense of the excitement of a dynamic event.

This is very well illustrated by this video review of the SVMP which was done by Fenchel & Janisch...

The Rode VideoMic Pro
While the SVMP is all about the general audio scene-setting, the VideoMic Pro is a more focused 'shotgun' type of microphone designed to capture a specific sound from a specific spot (like interview dialogue). While you can - as the above video illustrates - 'do' interviews with the SVMP (thus getting away with just the one mic) you have to be really close to your subject to get good quality dialogue, but you still pick up lots of incidental sound as well. The VMP is designed to cut out (or, at least, minimise) this incidental sound.

He's a little review of the VMP, along with an

As with the setup of the Lavalier mic & iRig Pre-Amp - which I covered in my previous post - there is a trick to getting the best quality sound and that is to minimise the in-camera recording volume while, at the same time, turning up the mic's 'boost' to enhance the signal. In effect, the VMP's built-in +20db 'boost' setting is doing the same job as the iRig Pre-Amp did with the Rode Lavalier microphone.

Here's an example of my set-up for the VMP, showing the quality of the sound in it's 'raw' format (straight from the mic and camera) and also an example of the same setup but with the audio further enhanced in 'post' (using Audacity software)...

Notes on audio test video
The above video sample was made under the following conditions and with these settings:

• Distance from camera/mic to subject: 5 feet
• Rode VMP boost setting: +20db
• Fuji X-T2 internal audio level setting: 5

I find that 5 feet - or less - is roughly the optimal distance from camera to subject when using the Rode VMP. Also, for the best result in combination with your DSLR/mirrorless, you have to apply the +20db boost if you want an acceptable volume level to play with in your edit.

The quality of the recording via the VMP is, in my opinion, a tiny bit 'tinny' and even with the cameras audio levels reduced down to 5 (25%), there is some noticeable hiss - as you can hear in the first half of the sample. (I have knocked out the hiss in the second half, using Audacity.)

I undertook some very rudimentary sound editing in Audacity. I am told that
the ideal audio level from a recording should top out at about -6 to -3db top.
You can see the db level top right of this screen, and my max recording level
is just going into this range (yellow/orange).

I prefer a 'warmer' or slightly more bassy audio dialogue, but I guess I could rectify this were I a bit more experienced in audio editing in post. Still, I have heard worse (on some YouTube 'video experts' channels even)!

Still, while the result was not as good as the recording that I got from the Rode Lavalier mic, it is adequate - especially when you consider the convenience of having an all in one camera/mic package. This is ideal for a run and gun video shoot as you have no detached mics or wires (or wireless packs) to worry about or set up. You just frame your subject and go!

I'd also say that it is very much an improvement over the cameras feeble built-in microphone. It's also a terrific way to get a reasonable quality audio recording backup even if you are using a separate mic/sound recorder setup.

Which brings us to the subject of my next posting in this series - setting up and testing an external audio recorder (which is thpreferreded choise of many videographers).

Fujifilm X-T2 and microphones Pt.1

[Preface: The majority of videographers prefer to use an external sound recorder to capture audio as they are generally better quality than the DSLR/mirrorless cameras audio capabilities. But I like to capture on both the camera and external recorder so that I have a back-up of the audio - just in case! Also, if you prefer minimal kit and like to 'run and gun', then having good quality sound from a camera mounted mic is essential.]

Today's project is all about getting good sound to go with my video. So I'm testing a variety of microphones with my X-T2, including a few lavalier mics and (in part 2 of this test) two Rode VideoMic Pros.

As I am particularly interested in interviewing, I have a couple of lavalier microphones (or lapel mics) I'd like to get working with my Fuji camera. Now, this isn't quite as simple as just plugging them into the camera's 3.5mm as you shall see...

The RØDE Lavalier Microphone
If you are into video making using DSLR/mirrorless cameras, it's not long before you hear about RØDE and its products. Thier VideoMic Pro camera-mountable mini shotgun mic is damn near 'industry standard' (and, in fact, I will be setting one up in my next post). Thier products are generally held in high regard and are considered very high quality and innovative.

Because I am very interested in interviewing I bought some lavalier microphones - or 'lapel mics' as they are also known - as, for the greatest clarity, it's best to get the microphone as close to your subject as you can. Chief among my purchases was the Rode Lavalier kit...

This is a superb kit that comes in its own sturdy box which contains the wired lavalier mic itself, plus a mini 'dead kitten' (for windy days), 3.5mm jack adapter and spanner for connecting the adapter, and a lapel clip.

Now, I would have preferred a wireless lav mic set but I couldn't afford one (like Rode's Filmmaker Kit) as a wired system tethers you to your subject and can get a little limiting and frustrating to set up (plus you have to remember to get your interviewee to remove the mic before they walk off otherwise they end up dragging your camera away with them)! But the wired system is a lot cheaper and there is technically less to go wrong with it (so it should be part of your kit even if you go to wireless as a reliable back-up).

However, wired lavalier mic do have one very big drawback and that is that they are - generally speaking - unpowered. This can seriously limit the amount of volume you can expect from them.

The Pre-Amp solution
While you can get hold of a few lav mics that come with a mini power pack, to help add some volume to their capture ability (usually driven by an AA battery), it's more usual that you will end up using a unpowered lav in combination with a more sophisticated pre-amp.

Essentially, a pre-amp is - again - a battery-driven power pack that allows you to increase the level of the input (or 'gain'), but it usually has more sophisticated controls, mic inputs, and options with which you can maximise the volume levels and capture ability. A budget pre-amp solution is the IK Multimedia iRig...

While the iRig is a fairly cost effective pre-amp solution it does have a couple of slight drawbacks - as it's name suggests it is actually intended to work with Apple's iPod or iPhone gadgets. This means that it's 3.5mm jack input is specifically designed to work with these products and will not work with any other standard 3.5mm-based recording, so you have to buy a special adapter...

3.5mm trrs (iPod/iPhone) to trs (standard 3.5 input) adaptor for smartlav

Also, the iRig is actually intended to allow you to use big professional-quality XLR mic inputs. So, once again, you need an adapter gadget to convert the big XLR input into a standard 3.5mm input so you can attach the lavalier microphone!

Right: The Rode VXLR Stereo 3.5MM Min Jack to XLR converter.

However, despite these added extras the complete iRig package still represents a relatively inexpensive entry-level pre-amp solution for your camera. (A more expensive Saramonic SmartRig2 option, which already has the appropriate 3.5mm jacks built in, is £99.)

Budget Pre-amp Component list:
• IK iRig Pre Universal Microphone Interface for iPhone/iPod Touch/iPad: £34.99
• RØDE VXLR 3.5mm Minijack to Male XLR Adapter: £9.00
• RØDE SC3 (3.5mm jack converter) iPhone Accessory: £10.98
Total cost: £54.97

(Alternatively, you could substitute the iRig with a Saramonic SmartRig, which will save you £10.99.)

This video explains the budget pre-amp solution, using the £24 Saramonic SmartRig (a knock-off of the IK iRig)...

Testing the lavalier mic on the Fujifilm X-T2 camera
Having assembled all the various components I needed to get my iRig to work with my X-T2, it was time to test the microphone and determine the most efficient settings for it.

This is a sort of methodical 'trial and error' experiment, involving lots of quick movie sound tests. The goal is to vary the pre-amp 'gain' and camera sound input volume in order to minimise 'hiss' in the final recording. Now, for starters, the usual trick for minimising hiss is to set the audio input levels in your camera quite low...

The X-T2's Mic Level Adjustment screen. I have lowered the mic level all the
way down to '1' (left) and I can monitor the effect this has when I plug in the mic
via the stereo level bars (right).

And then, on the pre-amp, set the gain levels somewhere from 50 to 75% to boost the signal (here's where you have to experiment, adjusting either setting until you achieve an acceptable audio recording with the minimum of background hiss). I *believe* this is because the camera's inbuilt audio capability is only so-so and generally quite 'noisy', so you have to compensate with the help of the pre-amp (which boosts the signal at the source)...Or that's my theory anyway!

The iRig's 'gain' dial (on the side). This is one of the flaws in this device, not
only is it hard to use - being as recessed as it is - but there is no visual clue as
to the exact level settings. No 'Min' or 'Max' and no increments denoting the
level of gain at which you have the dial set! Not helpful.

Here's a quick'n'dirty test video example, using the above formula...

It's an acceptable result. But I think I have to practice a bit more with some different subjects to get a variety of voice volumes to be sure. I also have to get a bit more experience with the audio editing software I am using (but more on that another time).

I used a permanent marker to write on some make-shift volume indicators!

For now, I have a sort of baseline setup for my lavalier microphones, I am sure I will refine my settings as I go along. But, now I have tested my lavalier microphones, it's onto my Rode camera-mounted VideoMic Pros - but I'm hoping they won't be as fiddly to set up.

First Fuji X-T2 4K test

I had to force myself to post this first video test of my Fuji X-T2 as I am far from proud of this initial attempt at filming. Everything that could have gone wrong did go wrong on this shoot and, basically, I discovered that I hadn't recovered from my illness as much as I thought I had - my heart (and body) just wasn't in it and I was forced to give up after just 15 minutes.

However, there is some learning value to the few useable clips I did shoot, so I relented and decided to post the clip. It's definitely not a particularly interesting clip, and neither is it well shot (my hands were shaking like leaves in the wind throughout the shoot) but it does serve as useful reference for some things I thought I'd try out...

A positive note: I should add some positives here, as this all sounds a bit negative. I actually did get a couple of things out of this experiment; it was great to actually have some pieces of raw 4K footage to practice my editing workflow with and I was also pleased with my ISO camera settings. I simply left the camera's ISO dial on 'A' (Automatic) and it did a very good job, the video you see above is a pretty true reflection of the natural light on that day as it was gray and overcast. Normally I would choose a manual ISO setting, but the auto setting impressed me (so it's not all bad)!

Footage Notes

Equipment: Fujifilm X-T2 mirrorless camera and Rode Stereo VideoMic Pro. No tripod.
Location notes: Peasholm Park, Scarborough, Weather was overcast.

Purpose of shoot: To test and practice 4K filming process and workflow and to try out a simulated  'flat' colour profile setting. I also wanted to see what handheld footage would look like and how much the Fuji's lens stabilization would assist me to take steady footage.

Microphone settings: No 'dead cat' attached (despite it being a windy day) so turned on the high-pass filter and set the gain setting to +20dB boost. I also set the Fuji's in-camera audio levels to about 25% so that - in combination with the  mic's gain boost - I would (hopefully) minimise hiss.

Camera settings: Basic camera settings for 'film look' video were - Shutter speed 1/50th, frames per second 24, ISO auto. I used auto-focus ('S') on the X-T2 rather than manual, just for simplicity sake.

X-T2 tip: Some people have been scratching their head and wondering how to set 1/50th fps using the shutter speed dial (as the settings on the dial go ...15...30...60...125..., etc). First, select '15' on your dial, then use the back command dial wheel to adjust the fps up to '50'. Yes, I wish Fuji had included a 50fps setting on the main dial too!

Simulating a 'Flat' colour profile: In its review of the X-T2 DSPhotoBlog.com suggests a method of creating a sort of faux-FLOG using custom settings: "Without the FLOG you can still get a pretty flat looking video. You switch to the Pro Neg Hi Std Film simulation and set the shadows and highlights to -2, color to -4 and sharpness to -3 or -4."

Post edit software: CyberLink PowerDirector 14 on Windows 10 PC.

File information: Format - MP4 (.mp4). Resolution - 4K, 4096 x 2160. Size - 576MB.

Postscript - why a 'flat' colour simulation?
I mention that I one of my goals for the shoot was to try and create a faux-FLOG, to understand why it helps to understand what FLOG (Fuji's version of LOG) is:

"In a nutshell, recording using a LOG picture profile or curve preserves more of your image’s dynamic range and tonality by redistributing the digital exposure value representations over the entire value set using a preset logarithmic function." [BHPhotovideo.com]

Er, or, simply put, it's all about preserving as much exposure information as you can in your footage so you can play around with exposure and colour grading in post without losing detail. It's kind of like a video version of still photography's RAW file format.

For example, if you shoot a piece of footage that is too contrasty (blowing out highlights) you can never recover any detail in those highlights in post. LOG footage is often called 'flat' or 'neutral' and looks a bit wishy-washy and grey, that is because it tries to retain detail information in all areas - shadows. midtones and highlights - so you can access those details later when editing and correcting colour and exposure.

Picture source: Blog.abelcine.com

"Log isn’t Raw; it’s video. However, it’s a special way of capturing that maximizes the tonal range of a sensor." [Blog.abelcine.com]

Now, unfortunately, the Fujifilm X-T2 cannot record LOG internally* - you have to record Fuji's LOG format to an external recorder via the HDMI output. This is a wee bit expensive to do at the moment and I can't afford one of these external recorders, so I am having to cheat and simulate a 'poor man's' flat file.

My test video above show the result of this attempt, which is another reason that it looks a little 'grey' and washed out. I used some settings suggested in a post on DSPhotoblog.com to sort of buff up the detail in shadows and highlights. It's not the same as a proper LOG recording, but it will allow me some latitude when trying to colour grade and adjust exposure in post.

*There are a lot of rumours that Fuji might add internal LOG recording to the X-T2 via a firmware update at some point.

Preparing for first outing with Fuji X-T2

It's been very slow progress as I familiarise myself with my new Fuji camera due to my continuing ill health. The main problem being that I still can't walk far, so I can't get to any my favourite local photogenic spots (like the nearby park or the beach).

So, I've been concentrating on the basic operation of the camera and working my way through all the X-T2's many menus and settings. I've also run through Fuji's 'manual' which is really no more that a reference guide to where each feature/setting might be found and what adjustment options you have. As a brand new camera model, there's been a lack of any YouTube tutorials but - finally - Tony Northrup released a video overview of the X-T2 last week...

Having, now, a very loose grasp of the fundamentals, I began to plan my first photographic sojourn. I'd love to do some test shots and footage down at the seashore but thoughts of taking my new (expensive) outside got me thinking about adding some practical accessories.

My main concern was the 3 inch LCD display. The X-T2's screen is not fully articulating - unlike my old Canon 700D - and the screen cannot be turned completely around to protect it when not in use. The screen is always exposed and that makes me worried about scratches, so the first job was to buy a decent screen protector...

The next thing that I wanted was a camera strap. I'd tried out several on my Canon 700D and wasn't really happy with any of the shoulder/neck straps I bought. I work mainly with my camera mounted and long straps just tend to get in the way, plus I never liked having a camera hanging around my neck. Then I saw wrist straps...

SHETU Digital Camera Carry Wrist Strap, a nice traditional looking faux-leather
strap. It has a sliding loop which allows you to tighten the strap around your wrist
for extra security. A great way of carrying your expensive camera on holiday.

These appeal to me as they are more flexible and allow me the security of being attached, but not too long that it gets in the way when the camera is mounted. Long neck straps can get in the way plus - because I am more of a videographer - they were not always convenient given the amount of accessories you'd attach to your camera for filming (like microphones, pull-focus attachments, etc).

Additionally, the wrist strap works well with my little camera bag/holster, which has it's own long carrying strap.

The last little accessory I bought was a tiny soft button. The X-T2 comes with a traditional style shutter release button with a screw fitting so you can attach an old-school shutter-release cable. This makes the button a little uncomfortable to use, so you can screw on a little third-party button to make the shutter-release a little softer and the process of taking a picture a little smoother...

Right, so I'm all prepared now. I have a basic understanding of my new camera - enough to get me going (and learn by doing) - and I have added some accessories to make it more convenient and safer to use outdoors. My only misgiving is that I only have one battery at the moment, so I have limited 'endurance' (I do have some good SD cards, though, so that's not an issue). I have read that the X-T2 batteries are fairly short-lived, particularly when shooting video, but we shall see.

My Fujifilm X-T2, ready to go!

All that's left now if for me to work out how to get to my chosen location. But even if I have to use a taxi I am determined to get some test footage done this week. Fingers crossed.