Audio Gear

By default we provide 24 bit, 48 kHz recordings, but can provide other recording depths and sample rates on request.

Recorders

Sound Devices MixPre6 II 4 Preamp, 8 Track, 32-Bit Float Audio Recorder with Noise Assist plugin. This is our default recorder for tape syncs.

Zoom H5 We use this excellent, pro-sumer, handheld, four-track recorder for recordings that have less exacting requirements, such as non-production reference recordings (for example, mounted to your camera), or simple ambience.

Rupert Neve Designs 511 500 Series Mic Preamp with Silk variable saturation control (2). The Neve 500-series “lunchbox” makes it really easy to bring studio quality preamplification, compression, and equalization to remote locations. We bring this baby along for more stationary tape syncs and field productions (from voiceovers to live events), to make sure you get the cleanest sound possible.

Focusrite Pro ISA One a rugged, portable, all-metal enclosure, ISA One combines the classic Focusrite microphone preamp with a flexible, independent DI channel and optional 192kHz precision A-D conversion. Pure, loud, clean signal. This is at home in studios and at live event recording; the classic ISA mic preamp design featuring Lundahl LL1538 input transformer.

Rupert Neve Designs 543 500 series controllable compressor-limiter. Fully controllable compressor-limiter with feed-forward / feedback modes, Peak / RMS detection and a built-in side chain high pass filter.

Sennheiser 416 super-cardioid shotgun-style condenser mic with the Sennheiser dead-cat (fuzzy) windscreen, perfect for great vocals on the move.

Neumann TLM 103 large diaphragm condenser capsule cardioid microphone (2). These are the industry standard for fantastic vocal capture, and used to deliver a crisp, modern sound for voiceover or narration recording. Requires a solidly baffled and non-reverberant room, room for a microphone stand, and an extra charge of $35.

Neumann U 87 Ai large diaphragm condenser microphone, the classic studio vocal microphone. Requires a solidly baffled and non-reverberant room, room for a microphone stand, and an extra charge of $35.

Electro Voice RE50 The legendary handheld interview microphone, used by radio and television reporters around the world. Its an omnidirectional dynamic microphone with an internal shockmount and pop-filter that makes it great for demanding situations

Sennheiser MKE 600 supercardioid short shotgun mic for video. It’s the modestly poorer cousin of the 416, and it’s great for reference audio when attached to your camera. It can also be used on a boom (see below.)

Lom Audio basicUcho high sensitivity, low-noise and ultrasonic response omni-directional electret microphone (2) - fantastic for ambience recording; Rycote™ rugged vibration-resistant mounts and windshields.

Sennheiser EW 512P G4 Portable Wireless Lavalier Microphone System (2). Great for audio-for-video capture, or situations where capturing every word is more important than stellar audio quality. Great as a backup mic for podcasting, or primary for on-stage or panel discussions. Extra charge of $25.

K-Tek KE79CC Traveler Boompole Extended length of 6'6" (198cm) and collapsed length of 1’8″ (51cm), this 6-section aluminum boompole has an internal coiled cable, and always gets me stopped by TSA for secondary inspection.

Impact 8.5' LSP-SFB8 Folding Base Stand with Locking Wheels with Auray Boom Pole Holder Used for more stationary engagements, especially on voiceover or narration syncs, the Auray boom pole adapter lets us combine the K-Tek boompole with the mic stand. It’s a rock solid setup.

Sony a7S III Mirrorless Camera. UHD 4K recording is possible with frame rates up to 120p, using full 1:1 pixel readout without binning. Internal 10-bit 4:2:2 sampling is also possible in all recording modes and, if recording externally via the full-size HDMI A port, 16-bit raw output is also possible

Sony 24-70mm f/2.8 Lens A wide-angle to short telephoto lens featuring advanced G Master optics, a robust physical design, and a bright f/2.8 constant maximum aperture. Its bright constant f/2.8 maximum aperture maintains consistent performance from wide-angle to telephoto focal length positions and also contributes to greater selective focus control.

Atomos Ninja V 5" 4K Recording Monitor with 1TB AtomX SSDmini The Atomos Ninja V 5" 4K HDMI Recording Monitor is a 5" on-camera monitor/recorder that records and plays back up to DCI 4K and records to purpose-built mini-SSDs. This monitor can record Apple ProRes RAW up to DCI 4K60 directly from the sensor of select cameras. Display features include a 10-bit screen with a brightness of 1000 cd/m² AtomHDR technology for accurate monitoring of your log gamma footage, plus support for Sony S-LOG format.

DJI RSC 2 Gimbal Stabilizer is designed for mirrorless and DSLR cameras and supports up to 6.6 lb camera and accessories loads. The motors of the RSC 2 are 50% more powerful than those of the Ronin-SC, which is the predecessor of this redesigned gimbal. A key feature of the RSC 2 is a foldable design that allows switching to underslung mode. The gimbal head folds down from the gimbal handle, and you can then flip the gimbal around and use it underslung for low-angle shots, without having to attach or detach anything. The gimbal handle remains integrated and has built-in batteries that provide up to a 14-hour runtime.

Aputure LS 300x Bi-Color LED Monolight (V-Mount) The first Aputure light to go beyond traditional bi-color lighting by utilizing the expanded vari-white CCT range of 2700-6500K, providing warmer tungsten tones and cooler than daylight whites. The brilliant light can be dimmed from a potent main light to a subtle, nuanced fill light, flicker free across the dimming range. It emits up to 20,500 lux at 3.3' with its included 55° Hyper Reflector. The Controller Box attached to the LS 300x head with a 9.8' head extension cable, so adjusting settings is effortless regardless of where the light is set. The self-regulating, multi-voltage controller also operates using single or dual V-mount batteries, suitable for lighting in remote locations.

Aputure Light Dome II (34.8") Bundled with a fabric honeycomb grid add-on that helps control the light spill spread by 40 degrees, and suitable for portraits, head shots, interviews, and fashion, the 34.8" Light Dome II from Aputure is a 16-sided modifier that offers quality of light options and wide compatibility with Aputure lights, as well as those of the many other manufacturers that use the popular Bowens front accessory mount.

GVM 800D-RGB LED Light Panel (3-Light Kit) Put together for those who require a budget-friendly setup with color and power options, this 800D-RGB LED Panel 3-Light Kit from GVM is just the ticket. Included are three 10.6 x 10.3 x 1.6" LED panels with CCT and RGB color control. Each panel comes with a 110-240 VAC adapter, a power cord, a soft diffuser, a set of barndoors, and a 7' light stand. A case is included to carry the kit. We also have soft boxes for each of these three lights.

Impact 8.5' LSP-SFB8 Folding Base Stand with Locking Wheels ** For the Aputure LS 300x Bi-Color LED Monolight (V-Mount) and the attached Light Dome II, the Impact is the perfect rolling stand. It has an 8.5-foot (2.6 m) 3-section, chrome-plated steel stand with two aluminum risers and a steel base with three braking wheels. This heavy-duty, double riser stand can support a maximum load of 26 lb. (12 kg). Features such as three-inch locking wheels, a 5/8-inch baby pin, a junior receiver, and a leveling leg adjustment knob.