There seems to be a lot of movement in this hardware area lately — streaming live from remote cameras via wireless broadband connections. Using a device like this in combination with a typical camcorder, reporters and camera people could broadcast live in the midst of the news they are reporting.
Simple operation by just connecting to a camcorder via an HDMI cable and turning the power on. Enjoy broadcasting beautiful video and audio good enough even for professional use with a high-end camcorder ! Compared to a webcam, camcorder video quality is much higher and has other features such as hand-shake compensation,etc.
Have you ever experienced difficulties because trouble occurred with a personal computer or streaming software when important live streaming is in progress? One of LiveShell’s selling points is the ability to do stable broadcasting for long peri- ods. 24 x 7 stable broadcasting is possible with AC adapter operation. Visit for our 24 x 7 Street live camera from Akihabara in Tokyo, Japan.
The Genie! A simple, affordable and extremely easy to use device used for motion control and image capture for Time Lapse Photography + more. The Genie is an all-in-one device used to combine image capture with motion control, capable of either panning or linear movement that’s commonly used in Time Lapse Photography. Simply attach your camera to the top of the Genie, plug it in, and program it to move and shoot to your desired needs.
The Panning and Linear accessories provide ultimate flexibility for a range of movement and it’s transportable size means you will never have to go without the option of motion controlled Time Lapses no matter how constrained your location may be. Visit our website www.syrp.co.nz.
Cool! That is what I said when I came across the CineZip while browsing through my Pinterest account today. Once again, here is a relatively affordable device that brings the capabilities of high-end mainstream production into the hands of new media artists.
I am sure there are some of you that could do some amazing things with a CineZip for panning large scenes to capturing large gatherings or sporting events and more. Creating inexpensive devices like this gives you more and a more opportunities and creative choices for your projects.
Anticipated release date July 1st. Whether you’re panning short distances during a wedding ceremony or filming a motion picture scene above a gorge, the CineZip will conquer environmental obstacles to capture footage normally achieved with a big dolly. Carefully guide your camera down the zipline, or utilize the built-in pulley system to attain smooth, motion rich footage.
Capture Video Virtually Anywhere.
Industrial grade components allow users to attach the CineZip onto virtually any two objects. Utilize Fat Gecko suction cup mounts to fasten to smooth solid surfaces like windows, a sturdy strap attachment for round objects such as a tree, or simply screw the adapter plate directly into the wall of a motion picture set.
360° Camera Rotation.
Maintain full control of your camera, while enjoying the ability to rotate the device and obtain a wide panoramic image. Built-in joints and liquid levels allow users to measure precise angles prior to shooting, while a brake system secures your camera in place during preparation and lens changes.
Lightweight, Portable & Easy to Assemble.
Unlike heavy slider systems, the CineZip requires minimal assembly before use and fits into one lightweight carrying bag for easy portability. Setup a custom design in minutes, with no additional equipment, hardware or tool bag necessary.
Israel Hyman has been producing great video technique tips for years. I met him a couple of times at PodCampAZ and he is a great guy.
Take a moment to visit his site, Izzy Video. There is a huge amount of information there to help you improve the quality of your videos.
Learn how to turn a hard light into a soft light. Also, learn how to tell the difference between a hard light and a soft light. Check out the full article to read all the details about how to do that.
Want to turn your iPad or iPhone into a portable recording studio, the Tascam iXZ can do just that. This interface allows you to plug in standard XLR connector microphones, guitars or any other audio source and then record them using iPhone and iPad software of your choice. For those more advanced, it also provides Phantom power so you can use high-quality condenser miss, too.
Mat Langley of the Robot Underpants podcast (Content Advisory) let me know about this device today after he picked one up for his iPad. Mat does a variety of shows and also uses his iPad to join Google+ hangouts and wanted/needed a way to get better audio into his iPad. I have asked for Mat to give us a review of this device sometime in the near future.
I had 2 separate friends mention these iPhone/iPad compatible microphones in the last several days. Both saw them at the manufacturers display at the MacWorld Expo that was held in San Francisco this week.
Portable devices are now capable of recording high quality audio, but sometimes you want a better mic, or more suitable microphone when out recording in the field.
I haven’t heard the quality of these mics, but my friends and the web site have certainly piqued my interest. I will see if I can get a demo model here at the Careers in New Media office so I can record some audio and share it with you.
For now, here is an audio sample using the i436 mic (picture below) from the company’s web site
Increasingly, iPhones are becoming acredible, convenient and reliable tool for journalists –both amateur and professional– to use in the field. Mobile reporting was even the topic of a UC Berkeley Graduate School of Journalism course taught by Jeremy Rue to help journalists learn how to get the most out of reporting from a mobile device.
I came across this new Kickstarter project for a 360 Panoramic Lens that allows you to take 360 interactive video on your iPhone 4. A $50 pledge gets you on of the products if the project gets fully funded.
I could see making use of something like this for my Places LA videos where I try to make viewers feel as if they are actually at the location.
What could you do with a lens like this? Let me know in the comments.
NMI Founder, Douglas E. Welch, is running a New Media Gift Guide on his Careers in New Media blog. Here is #10 in the guide, with links to all the past items.
I was reading the Podcasters mailing list this week and saw mention the the Blue Snowball mic I mentioned earlier is being discontinued. This new USB microphone, the Yeti, is taking its place in the product line and has some good reviews. One major enhancement is the inclusion of an headphone jack to allow real-time monitoring when you are recording. This is a limitation of USB mics in that trying to monitor them through the computer induces a delay in the audio and makes it nearly impossible to listen to yourself while you record.
Certainly worth checking it out and I plan on doing that as soon as I can.
After having been producing Geek Cred for over three years (at the time of this writing), people come to me for advice and recommendations for podcasting equipment on a budget, whether they’re just getting started, or are looking to improve their sound. Now I’m a college student. When I started podcasting Geek Cred, I used a very modest setup: just a $30 USB headset microphone that I already owned, and my computer—and it got the job done just fine. There should be no shame for using “just” a headset. Now, over the years, I have accumulated (compared to most podcasters) a relatively high-end setup. I admit, if three years ago you had even suggested that I would have spent nearly as much as I have on equipment, I probably would have insisted you were out of your mind—I can totally understand and identify if budget is a concern.
And you know what? If you’re just looking to get started, even if you are somehow made of money, I wouldn’t recommend spending hundreds of dollars on the latest and greatest equipment. Many can start off with a gung-ho, full steam ahead attitude, but after a few episodes, the honeymoon wears off, leaving behind the reality of late nights and often grueling work. Podcasting sure isn’t for sissies! The harsh reality is the majority of would-be podcasters never make it beyond Episode #5.
With that said, let’s say you’ve made your decision, and you’re ready to upgrade from that cheap headset you picked up at your local big box store; you’re ready to make your first foray in to the wild world of professional audio equipment. Even as an audio production guy, it can be easy to get lost in the multitude of available options, and some people might have a tough time getting over the initial sticker shock of some items. There are plenty of great options that you really can’t go wrong with on the high end, but most people aren’t made of money, and don’t have hundreds of dollars (or even thousands of dollars) to spend to outfit their home podcast studio to challenge a professional radio station’s. Thankfully, in recent years, the market has exploded with countless affordable low-end options, but when it comes to microphones, I have found it difficult to give a definitive recommendation for those on a tight budget.
Enter the GLS Audio ES-58 Dynamic Microphone.
Visually, the ES-58 bears a striking resemblance to a certain similar microphone you probably see all the time. Essentially, it is a much more affordably priced knock-off of the industry standard workhorse Shure SM-58, which has been used the world over for the better part of the past three decades, especially for live performances. If you’ve ever been to a rock concert, chances are that you were hearing the singer’s voice through an SM-58. However, the downside of the SM-58—at least for us cheapskates—is its street price of $99, which can be a tough pill to swallow. So when I came across this little gem a while back almost entirely by accident, I knew I had to get my hands on my own and try it for myself. Many less-expensive microphones have attempted to take on the legendary SM-58, with varying success.
Upon first listen, with a price tag of just $30, it was easy to understand why the ES-58 has garnered such an underground following among home recording enthusiasts. Rather than trying to write here what it sounds like, take a listen to this test recording, and hear for yourself:
(Pure unedited, unaltered audio, with no post-processing applied.)
Unfortunately, at the time of this writing, I do not have an SM-58 to do a proper A/B comparison with. Does it sound exactly like an SM-58? Maybe, though probably not quite. But does it sound very good? Absolutely! Will it replace a high-priced professional broadcasting microphone? Of course not—but it’s not supposed to.
The ES-58 is professional XLR microphone, and will require a preamp, such as a mixer and/or audio interface. (This is not a USB “plug ‘n’ play” microphone.) It has a relatively high output, so it does not require a lot of gain from the preamp (in my test, I had it set at around only 12 o’clock on my mixer). It does also have some handling noise, which is something to be aware of you’re planning on using it more as an “on the street” interview microphone, but if you’re going to be using it at home, on a stand, that issue becomes moot. Finally, as a dynamic microphone, it is not as sensitive as condenser microphones, and as such is not as prone to picking up unwanted background noise. (Indeed, when I recorded the above clip, the TV was blasting in the next room…)
If you’re on a tight budget, at $30 for a single microphone—or $80 for a three-pack—you probably can’t go wrong with the ES-58. You really can get a quality sound without spending a lot of money.
The GLS Audio ES-58 Dynamic Microphone is available with or without an off switch, and (as of this writing) exclusively available from Orange County Speaker, and can be purchased from them directly, or through Amazon.com. Combined with something like a Behringer Xenyx 502 mixer and Behringer UCA-202 USB interface, you get some pretty darn good quality for as little as about a hundred bucks.
Happy podcasting!
Steve Riekeberg (Ricky-burg) is a twenty-something podcaster, consultant, technologist, audio engineer, writer, and self-proclaimed geek from Southern California, and the host of Geek Cred, the podcast that delivers in-depth, behind the scenes interviews to give you the inside scoop on everything geek.
At PodCampAZ this weekend I ran into an old friend who had one of these magnetic adapter lens for his Flip Video camera. In his case, it was a wide angle attachment that allowed him to shoot himself more easily for video blogs. The built-in lens on the Flip Video makes you extend you arm almost all the way to get your entire head and shoulders in the frame, but this adapter expands the view of the camera and makes it much easier.
They also have telephoto and filter attachments that work with a variety of point-and-shoot camera. These adapters attach to your camera using a magnetic ring that is stuck to your camera body which that connects to the adapter. This allows you to easily attach/detach the adapter depending on the shooting situation.
This new product from Samson seems an odd duck. It looks like a Flip video grafted onto a Zoom H2 recorder. While that is certain to up the audio quality, the standard 640 x 480 video falls short of the Flip HD. I will be more interested to see the next revision of this device.
Our Battlemodo showed that while cheap pocket camcorder video quality has come a long way, audio quality is usually abysmal. The Zoom Q3 aims to change that with TWO directional microphones that can be focused much like a lens zooms.
I came across a link to this video in my Twitter stream today from Guy Cochran. This could be a relatively inexpensive addition to your new media toolkit and boost the overall quality of your videos.
I came across this blog post via Twitter user @guycochran . This is something I have been wanting to create for a while, so it is great to be able to pass it along to you.
This is the most amazing mic comparison on the internet! Listen to a variety of shotguns and compare the sound quality right on this page!
A good quality shotgun mic will pickup great sound a few feet directly in front of the mic while at the same time rejecting sound from the sides. This is great for picking out just the sounds you want and is the most desirable and common microphone for DV filmmakers.
A question most new camcorder owners have is, “Which shotgun mic should I buy?” This usually happens after they shot some awesome footage, but later found that they can’t quite make out the intriguing dialogue from what was a light breeze but somehow now whips, rumbles and howls like a tornado.
My fellow Friends in Tech member, Kreg Steppe, shared this interesting link for a homebuilt camera stablizer. I have been wanting one of these. — Douglas
This is really great looking camera stabilization rig. It certainly can compete with the professional models and seems to cost a lot less. I really like the universal joint that allows for some incredible movement.
Inspired by the Steadicam Merlin, and unwilling to spend £500 on that device, I set about making my own, following the basic principles of the Merlin and other similar designs viewable on the internet.
I haven’t laid hands upon this mic, so the term “revolutionary” might be a little grand, but it could be an interesting addition to your podcasting kit. Blue already offers its similar Snowflake mic which you might want to check out. (Links: Blue Snowflake and Blue Snowball)
Increasingly, iPhones are becoming acredible, convenient and reliable tool for journalists –both amateur and professional– to use in the field. Mobile reporting was even the topic of 
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I haven’t laid hands upon this mic, so the term “revolutionary” might be a little grand, but it could be an interesting addition to your podcasting kit. Blue already offers its similar Snowflake mic which you might want to check out. (Links: 
