Save Your Ears, Save Your Reputation

Lots of people start out to make award-winning cutting-edge iconic masterwork video productions. They get a DSLR or a mirrorless camera from a bucket shop, an orphan tripod from Cashies, and the earphones from their sister's old Walkman. The script is written over pizza and a slab and the iconic video master 's mates all agree to be stars in the video. Generally the hoped-for audience does not eventuate, but the cameraman's sister eventually misses the earphones and then all hell breaks loose.

One feature of the video as made on the DSLR is the lousy sound. This is a blessing as it disguises the voices.

Should you, as an iconic video master, wish to avoid the wrath of the sister and the contempt of the crowd may we suggest that you buy your own set of professional headphones and an adequate professional microphone. Sennheiser have these and we have them in-store right now.

The MKE 600 is such a microphone. Super-cardioid pattern, 40Hz to 20kHz, max SPL 138 dB. Comes with stand mount and wind shield. Pro quality and clean sound.

You can hear that clean sound - or at least hear how bad your mates sound - on the Sennheiser HD 28o Professional with its high passive noise attenuation. you will be able to hear whether you are making too much noise operating the camera as well. Beware.

If it all sounds dismal, take heart. Learn to draw cartoon mice and dress them in white gloves. It worked for Walt and it can work for you.

Wonders Will Never Seize

Not if you remember to keep the oil level topped up in their crankcase, they won't.*

On another note entirely, we have some new items to interest the video worker. The new Sennheiser ENG set is a wireless transmitter/receiver pair that means your roving reporter can rove without running out of range. There are a number of options for frequency within a large switching bandwidth. The whole thing can manage the frequency automatically. The fact that the transmitter and receiver housings are metal means that it can cope with rough handling. Now all they need to do is design a video camera that does away with the delicate glass in the lenses and replaces it with cast iron and you'll have a real fighting camera!

If you are trying to video in dim light and need to boost the level, what better than a cool portable light panel. And I don't mean cool as in your hat on backward and your pants down around your knees - cool as in LED lights with a constant temperature. The Compact Kit has a 112-LED array and runs off a rechargeable Li-ion battery. The whole panel mounts on a standard shoe adapter and comes with the battery - an NP-F550 - and charger in the kit. $ 269.50 all up.

Now, for the still shooter ( Well, maybe for the videoists, too....) is the Lastolite EzyBox Speed-Lite. It's a foldable softbox that is fitted with two sets of elasticated velcro straps on the back for attachment to a portable electronic flash.

The front of the box with the diffusing panel is 28 cm square. The whole lot opens in a pop and claps onto your flash in less than 30 seconds.

I'm perfectly familiar with this item - it forms a staple of my lighting kit for field work and weddings. In my case I have my assistant use it with a Nikon SB 600 on an extension handle. I command the scene with a Nikon SB 700 on camera  - also with a diffuser. At any point I like I can have an off-camera soft main or fill.

I have also tried the EzyBox Speed-Lite as a diffuser for the  SB 700 on-camera flash - it does work, and is small enough to manage. However you decide to use it, it is a really sturdy and useful piece of kit.

* Groan...