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Category: FocusPulling Original

01 September 2021

Mirfak WE10 Pro Dual Wireless Microphone Kit Review

Written by Paul Moon

The field of ultra-portable wireless microphones has kept growing, after my review of Comica’s dual kit that was fresh at the time for including the quick option of built-in mics on the transmitter, or lavalier mics plugged into the transmitter for a better look.  That’s a legit use case, even for serious filmmakers, because you can complement a primary durable kit running on licensed frequencies, with these run-and-gun clip-ons that run on unlicensed 2.4 GHz, to catch a few more channels of properly mic’ed audio.  Instead of wiring up talent in that awkward and time-consuming routine, you’ve got the option for a tiny matchbox-sized clip-on or two, while you run around on location, grabbing footage and impromptu dialogue by asking, “Hey, can you clip this on real quick?”

After Comica and of course Rode at the top of the game, many more of these arrived to market, more or less the same.  What then was left to add as a feature?  Answer:  internal recording.  Mirfak is the audio brand of Gudsen MOZA, and their WE10 Pro is now available:  in fact, they’re offering FocusPulling readers (that’s you) a gigantic 40% discount at $100 off when you use the exclusive discount code GQAN7D2V at checkout, when you buy at Amazon using this link.  Or you can use the same code to get 40% off the 1-transmitter pack option at the same link.

Most of this should look familiar, and needs no explanation.  But the distinguishing feature is internal recording, so let’s focus on that first.  Each transmitter has a slider (labeled 1 above) that can activate internal recording:  it starts once you move the slider there, otherwise it’s only feeding live sound to the receiver (but it does that simultaneously too when it’s recording internally).  Each transmitter has a MicroSD card slot, and you need to be careful finding the right card(s).  It cannot exceed 64gb, and some cards won’t work:  my Transcend Premium 400x 64gb UHS-I wasn’t recognized after properly formatted to exFAT rather than NTFS or HFS+, even though it works in drones and cameras.  Point being, they’re cheap anyway and you will find one that works, but make sure that you’re up and running before heading into the field.

But there’s something you need you know, and it’s a compromise:  Mirfak, to avoid adding a localized input gain control (compared to the receiver output gain control), sets the whole transmitter at a fixed volume level.  The above analysis shows me talking at normal conversational loudness, mixed with a few quiet moments, but then you can see clipping when I’m talking a bit loudly — not even yelling, but above normal.  So, even though it’s recording internally at a better (and more reliable) audio quality than wireless transmission, you need to be careful.  Sometimes, it just won’t work.  When I record stand-up comedy, I can quickly throw a WE10 transmitter on talent, farther away from their mouth to be safe, but when the whole room laughs, that cumulative loud noise clips.  You might be confused by the gain control on the receiver unit — I was, at first — because it does let you toggle between -18 dB, -6 dB, 0 db, and +6 db.  But that is only adjusting the output preamp to your camera/external recorder.  As you toggle between the gain settings, you’ll notice that the meter isn’t affected, and it bounces up to the same level with each changed setting.  So if there is clipping before any sound arrives to the receiver, you’re in trouble.

Another issue:  the audio files, while stored in WAV format at a fairly low 177 kbps bitrate, are oddly fixed at a 44.1 kHz sampling rate, which takes us back to the good ole days of spinning compact discs.  (The bitrate on 16-bit stereo audio CDs is generally 1,411 kbps.)  The entire universe of video production is, of course, 48 kHz, so if you’ve got an hour of internally recorded audio that you need to sync with video, there will be some drift.  However, you can always time-stretch fairly easily, and when using format-agnostic NLEs like Adobe Premiere Pro, the program interpolates behind the scenes so that you mostly don’t need to worry about this unfortunate anomaly on shorter clips.  In sum, the sampling rate problem isn’t a big one for me.

Another selling point of the WE10 Pro kit is of course that you can record from two transmitters at once, through one receiver, into your camera with live sound.  And here, there’s something else you need to know:  unlike most other competing products, this one cannot allocate one transmitter to the left channel, and one to the right channel, with independent gain control and/or (most importantly) the ability to separate them out during post-production.  That might be a deal-breaker for you; for me, it’s a minor frustration, and another compromise:  it keeps things simpler, meantime for best results I’m always recording internally anyway, and syncing each transmitter’s separate recorded audio in post, able to control each channel independently that way.  And that’s the whole point of internal recording:  an insurance policy against no wireless dropouts, with theoretically better sound quality, and peace of mind.  I still record the mono-summed audio into one of my camera locations for an ironic backup of the internal recordings, as well as for syncing in post.  But I also envision situations when recording internally at the transmitters, and leaving the receiver off entirely, makes sense:  for example, when I’m flying on a gimbal, not having a receiver in the mix really simplifies balancing and re-balancing.

Transmitter recording
Transmitter status
Receiver controls
Receiver ports
Transmitter with lav

Some highlights of its basic features:  I like that the charging ports are USB-C instead of outdated micro-USB — and as you can see below, Mirfak includes an octopus of three plugs so that you can charge everything at once from one standard USB Type A connector.  Mirfak also includes a drawstring pouch that holds everything, as seen below too.  For that matter, you also get a coiled 1/8-inch stereo miniplug cable, with the same for smartphones using TRRS (“tip-ring-ring-sleeve” stripes on the connector).  Lavalier microphones with clips, windscreens, and cables are included for the transmitters, and the sound quality is mediocre:  if you have a spare one from a better kit, it will probably be compatible with the industry’s notoriously vague “plug-in power” to drive the condenser microphone.  I’d even dare say that the internal microphones sound a little better than the included lavaliers, but there are more factors to consider, like aesthetics (hiding the mic in your shots), and isolation from rumbling/bumps that tends to go better with lavs than with clip-on packs.

In my last picture from the row above, besides the gain toggle, you’ll also see (on the receiver) a mute button, and a highpass filter toggle that cycles between off, and two cutoff frequencies: 170 Hz, and 230 Hz.  Basically, you choose these to avoid low-frequency rumble caused by street noises, wind, HVAC, etc.  But I always save that decision for post-production anyway:  I’d rather make that choice non-destructively, when I have the time and quiet environment to get it right.  So it’s always off (0 Hz) for me, and you can see it confirmed on the receiver’s OLED screen.

In sum, this is the only ultra-portable and cheap wireless mic kit that comes with everything:  two transmitters into one receiver, lavalier mics for when you want/need them, internal recording capability, and cables/windscreens (dead cat as well as spongy)/storage pouch.  At $250, it’s a nice option to have; but with the exclusive discount code offered by Mirfak here (see above), it’s a real bargain option to have handy at all times for running and gunning.

September 1, 2021 FocusPulling Original Leave a Comment
12 July 2021

Viltrox EF-EOS R Lens Adapter

Written by Paul Moon

The world of lens adapters is a risky place. Behind-the-scenes, you’ll never find the creator of a lens mount standard being delighted to share data with other companies trying to adapt lenses. A basic principle of lenses as they exist in the profit sector, is that they obviously aren’t worth what you pay: instead, their high price tags compensate for lost profits in R&D and manufacturing spent on revolutionary camera bodies, with each new version sold as a “loss leader.” In other words, lenses weren’t invented yesterday, and they aren’t all that complicated (just ignore the marketing hype, especially Sony’s “G Master” racket). Whereas, camera bodies are technologically cutting edge, expensive to make, neck-and-neck in competition, and can’t afford to slack.

So, there’s no winning incentive for folks like Canon to help a company like Viltrox sell affordable lens adapters (even though a fringe benefit would be to promote their emerging lens mount standard, versus others like E-mount, Micro Four Thirds, etc.). Canon would rather that people buy Canon’s own lens adapters, which leaves the like of Viltrox to “reverse engineer” the lens mount standard without any help from The Creator.

Normally, results are mixed at best, especially when it comes to adapting third-party lenses like Tamron, Tokina, etc. who were already in the same boat: trying to reverse-engineer the official spec. But the world is a little better place when it comes to Canon’s new RF mount, used on cameras like their R5 that I previously reviewed here. Compared to adapting active Canon lenses onto Sony or Micro Four Thirds mounts, for example, Canon RF to Canon EF is (at least thematically) a pass-through of prongs: those electrical contacts are passing along instructions and metadata from Canon to Canon, instead of translating that information across divergent lens languages.

That’s why this Viltrox EF-EOS R lens adapter implicitly poses less of a risk in the compatibility department, and here you see it paired with one of my several Tamron lenses that do work in all categories of electronic control: aperture, focus, and in-lens image stabilization. I have seen sporadic reports of incompatibility with third-party and even Canon-native EF lenses, but they currently feel like rounding errors, attributable to something else. In other words, so far, the whole universe of adapting EF to RF mount is smooth sailing.

After that compatibility threshold, it comes down to build quality and, most critically of all, snugness of the lens to twist-and-click into position. So far, there too, all good.

It might be that Canon’s own EF to RF mount adapter, costing almost twice as much as the Viltrox, is marginally better. But they have had supply issues, backordered for long stretches, so even if this Viltrox is a stand-in for now, you can’t go wrong because if you go with the official Canon adapter later on, you’ll have this affordable backup anyway.

And that’s the end of the road right now: you don’t want to buy into Canon’s outrageous gouging behavior when it comes to their otherwise innovative EF to RF mount adapter that exploits the flange distance gap with a slide-in, behind-the-lens variable ND filter. Reason is, Canon stubbornly refuses to include anything to plug up the hole when you don’t want to use the ND filter (i.e., very often). They force you to buy an additional product for $130, as if it’s “optional” for a $400 product that’s opportunistically priced to begin with. And there are no alternative choices for drop-in filters. I look forward to Canon feeling the fire whenever Viltrox and the like step up and release their own third-party equivalents, spending those extra pennies it takes to plug up the hole.

July 12, 2021 FocusPulling Original 2 Comments
20 March 2021

Sokani X60 RGB Light, Aputure Lantern, ZGCINE Battery, Impact Combo Boom Stand & Ruggard Bag

Written by Paul Moon

When grids of LED lights started showing up on affordable panels a few years ago, I figured that’s what I’d be using for everything, and I even bought one of those crazy flex panels when they hit the market. You might have seen a guest review posted here, showing some really small lights that can do the job too. But with this new Sokani X60 RGB product, I think I’m ready to move into the world of more theatrical fresnel lighting, and this review (and associated video) will show you how to pull together the most cost-effective kit on the market including a stand, a diffuser, and a bag for everything.

This Sokani light is an expansion of their X60 product into full-color RGB, and it comes with a reflector that magnifies the output from its LED elements. They’ve added a glass protector that you can see screwed down over the light-emitting diodes, since these often get roughed around and the elements are fragile. It outputs 6,820 lux at 1 meter with the reflector on, which is a lot lower than its new close competitor, the Aputure Amaran 200x with 42,300 lux at indoor color temperature, but this is an RGB light that trades off lux for a full range of color, and I rarely turn up the output past 50% anyway. The Aputure costs 1-1/2 times more, too.

Another thing that Sokani added to their lineup with their version 2 X60, is a more secure mounting bracket. If you look closely, you’ll see ARRI rosette-like teeth that prevent the housing from pivoting down when you’re loading it with weight up front, like the diffuser you’ll see below.

The mounting bracket attaches to any standard light pole, with sockets for both horizontal and vertical positions. For powering up, you also get an AC adapter that plugs into the bottom of the light, but that side of the cabling is really short so it can’t reach the ground. For now, I’ve just set the power brick on top of the light, and its cables hold it in place, but I’ll need to use a clamp in the field, and I wish they made the cable longer on the delivery side since it’s much easier to extend an AC cable.

 

Sokani does sell an optional battery sled that takes two Sony L-series batteries, and it has a C-clamp so you can just fix it onto your light stand pole. It has a few more ports to power other accessory devices, too.

The back control panel display is bright enough for daytime and it shows you everything you need. At the end of the video associated with this post, I take you through every feature, showing you smartphone control on the same screen too.

Everything packs into an included carrying case with good padding. Since portability and low cost is what distinguishes this $200 product, I found a match in the perfect lighting stand for it, manufactured by Impact and sold for as little as $100. Its best feature is that it combines light stand and boom, with a mounting hole at the end so you can attach a counterweight. Impact includes a saddle bag that you can throw anything into for adding weight, like other batteries you brought with you, or bottles of water that you’ll be drinking when you pack up anyway.

The stand has a big knob to tighten the angle that doesn’t slip, and its magic trick is that the boom arm telescopes down into the vertical light stand! So you can skip the boom part if you don’t need it, and the stand adapter at the end can point straight up.

It’s reasonably small at 45 inches collapsed, but it can get up to 13 feet. For packing everything up but keeping to a low budget, there’s also a great padded bag that fits the stand perfectly from Ruggard costing under $60, way below anything else I could find. It’s perfect for holding the light stand, and also the diffuser that we’re adding to this kit.

For that, a light like this almost always has a standard so-called Bowen mount, and it’s just one latch with three sort of teeth that you insert and twist in to lock. What I’ve hooked on is the Aputure Lantern; at under $90, it’s the perfect pairing with this light. Acting like a so-called “China ball” or paper lantern, it provides very soft light with wide diffusion, and it’s often used overhead which makes that combo boom stand come in handy. My favorite feature is how it instantly sets up and breaks down: you just latch one center support loop into a hook that you can see peeking down into the bottom below, and those pre-installed “ribs” on the sides just warp into position. It literally takes about 5 seconds, and when collapsed, it’s nice and small, so we can fit it into that same Impact bag, even though it comes with its own.

You can see more uses of the light in Aputure’s own advertising video towards the end of mine, often overhead and often using black skirts that are also included to narrow down the light radius. But you can still mount it facing forward like a typical soft box for interviews too.

Finally, for those situations when you can’t plug into AC wall power, there’s a great battery by an offshoot of Sokani called ZGCINE. V-mount batteries used to be big bricks that would bog down your rig, but in the past few years, they have gotten increasingly smaller while maintaining or even exceeding the capacities of older products. The ZGCINE ZG-V99 is competitive with the new crop of portable V-mount batteries, but it leads the pack because of a few extra (and really important) features.

My favorite feature is the option to charge the battery using a now-standard USB-C PD (Power Delivery) source, such as a wall charger for mobile phones, or a power supply for some laptop computers. PD is a really important new technology because it uses a communication protocol to safely adjust the voltage sent to charge a device, after “handshaking” what the exact amount should be. So, this means that if it’s a typical mobile phone with a USB port, it’s 5V just like any other USB accessory. But if it’s this battery, PD sends 14.8V for correct charging speed and capacity. It’s about time! But if you want to charge via PD, you need to ensure that your charger is rated in the neighborhood of 45 to 65 watts.

ZGCINE needs to improve its documentation and labeling, however. The actual ports on the battery itself are faint on the orange rubber flaps, and you need to be careful to use one USB-C port for charging (on the long side), and the other for providing power to an accessory device (on the short side). Also, the D-tap port is labeled “out” but actually is ALSO an input charging port, so that you can charge the battery fastest and most conventionally using a D-tap charger via AC wall power (not included). The included instruction sheet does not help, either.

Another great feature is a colorful OLED display showing the actual numerical percentage of battery power left, once you “turn on” the battery using a momentary circular orange inset switch. (Notably, I hear a physical clicking noise inside the battery upon pressing it, for a few seconds — is this safe?) In reality, the battery only needs to “power on” for charging via the USB Type A or Type C ports. The D-tap port is active at all times, anyway, regardless of whether you see the OLED display illuminated.

This is a great next step in the evolution of large batteries getting smaller! There are lots of inexpensive options for mounting this onto camera cages and light stands and tripods, treating the V-mount itself as a dummy connection (i.e., not using the standard V-mount bus pins which are unnecessary because of the battery’s other ports), and an adapter plate with clamp should cost you well under $20, making this product convenient for powering several devices on a camera rig at the same time, from one place.

March 20, 2021 FocusPulling Original, FocusPulling Original Video Leave a Comment
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