i have the same devices but i don't have those mounts for the rode transmitters.. where can i purchase? what's the actual name of those mounts? thanks in advance.
@@dolo747 The Wireless GO mounts are just cold shoes like these: www.amazon.com.au/SmallRig-Adapter-Bracket-Camera-Monitor/dp/B00HJFBUCQ/ref=sr_1_3?dchild=1&keywords=smallrig+cold+shoe&qid=1613428885&sr=8-3.
Hi, just returned to your video, I saw it some time ago and like you I got the NUX B3 wireless set up. Got to ask, are you getting a lot of background noise from your set, I use it with an NTG 2 and gotta say the background noise is noticeable. Like you I’m using the wireless go systems with my F6, you get amazing quality sound from it, I use it with small mics for easy to place field recording, so compact and great audio for ambient or background sound. Great video mate and tidy set up.
Thanks for the praise. No, I'm getting clean audio throughout, in fact I'm very surprised at how well the F6 works with wireless mics. I was having incredible trouble getting clean audio while recording in-car and the F6 solved everything: ruclips.net/video/ARArbWBF1-A/видео.html. I haven't used the NUX B3 very much, or much of my other gear, as we've been in lockdown for nearly two years because of COVID (200+ days in the last year and a half and counting).
@@AustralianImage Thanks for your reply, yes I’m shocked at the quality of the wireless audio with the Wireless go, it was the NUX B3 set up I’m getting background noise, maybe I need to ditch that set up and concentrate on the wireless go set ups. Cheers Ivan
Great video. I need a recommendation, because when connecting the Rode Wireless GO to the zoom f6, the signal is very weak and when I increases the db, noise enters.
Have you set the F6 to 32 bit float recording or one of the others? If set to say 24 bit, then try dropping the gain in the Rode and raising it in the F6. I just use 32 bit float recording and don't seem to have any issues.
The biggest issue i am having currently is that i cannot silence tracks temporarily without turning the gain all the way down losing where it was previously set. I was able to do this on the F4 and it makes checking on the positioning of radio mics on set too tedious. Hoping to find a solution otherwise i will be sending it back!
I think given that the Zoom F8/F8n are not a great deal more expensive than the current F4, they probably didn't see the need to upgrade the F4. Mind you, for many, the Zoom F6 isn't budget.
@@AustralianImage Zoom has said they see the F6 as the replacement to the F4, when it is *not*. The F6 in the grand scheme of things is definitely budget. The original Zoom F8 was truly revolutionary for how much it did, how good it was, and how dirt cheap it was! Just like how the Nikon D90 / Canon 5Dmk2 / Panasonic GH1 etc were revolutionary for aspiring DoPs when they came out!! Costing so little yet offering so much, opening new doors for many aspiring DoPs starting out.
@@SoundSpeeding Yes, when it comes to the film industry, the F6 is a throwaway item, much like the BMPCC4K/6K. But what you say kind of confirms what I thought, the F4 has actually been replaced by the F8n. I don't think they could have kept the F4 line going with the introduction of the F6 and what the F8n offers. I kind of equate the Zoom F6 with the BMPCC4K/6K cameras, affordable, but punching way above their weight. As I noted in the video, the form-factor and features of the F6 were what took the MixPre 3 II out of the equation.
@@AustralianImage The F4 was intended as a lower budget version of the F8, that spot as been replaced by the F6. Thus the F6 "replaces" the F4, but it doesn't.... because you lose too much stepping down from a F8n to a F6, thus the F6 isn't simply a "lower budget F8n" like the F4 was for the F8. (I understand though why they terminated the F4 after the F6 came out, just is a pity a F4n didn't happen instead. Perhaps the F6 could've been an even more compact "Zoom F3", to further distinguish it from an F4n) I was before comparing the F8 with the D90/5Dmk2/GH1/etc because those cameras were truly revolutionary and game changing, that era was called the "HDSLR Revolution". Not only did they open the doors to young aspiring filmmakers, but they were even used as A Cam on quite high profile productions, such as an episode of House and the pilot of Key & Peele, just to name a couple of many examples. The same is true for the Zoom F8/F8n, but for the Sound Department. We live in a fantastic time of opportunity!
@@SoundSpeeding I have to admit that I don't know enough about the industry to make more than observational comments based on what I've researched (and do I research), but even then my knowledge can be wanting. I see where you're coming from, but I guess Zoom has observed their market and decided that to compete with the likes of Sound Devices, they can't keep all product lines going. In fact, it can become confusing to the buyer when too much overlap happens with products and then people start complaining about lack of this or that in one line or the other. I look at it this way, there is absolutely no way I could have bought or justified something equivalent to the quality and performance of the F6, or BMPCC4K, of say 10 years ago. I could justify my stills gear as that was all work related, but audio/video gear, not a chance. And we certainly do live in fortuitous times.
It's a 30cm male XLR to 3.5mm cable, similar to this: www.amazon.com.au/Wireless-Microphone-Internal-Thread-Microphones/dp/B089YQJS3V/ref=sr_1_56?dchild=1&keywords=30cm+male+xlr+to+male+3.5mm+cable&qid=1614412005&sr=8-56.
It's not 32bit float into the camera (the camera doesn't support 32bit float), but what appears to be 32bit float from the VideoMic NTG transmitted to the Zoom F6 via the Wireless GO attached to the mic. To be honest, I have not been able to confirm whether the Wireless GO does transmit an analogue signal to the receiver and then the Zoom F6, but the end result is much the same. I've done tests in Fairlight and can bring out almost inaudible sounds and make them quite clear and clean. There's some sort of magic happening, but I don't really know what it is and why it's happening. But I won't look a gift horse in the mouth.
@@AustralianImage Thanks for the quick reply! I’ve got the same setup. Is there anything specific that needs to be done with the wireless go or is it just plugging in and adjusting volume as needed on the F6?
@@jakehubermedia9367 I just plug in the Wireless GO and set the F6 volume to about half way or so that it doesn't peak, but I'm not sure if it really matters. Either way, it seems to work.
@@AustralianImage So I just tested this but I may be misunderstanding slightly. Are you sending a feed from the H6 to the camera using the Rode wireless go system? If so, how are you able to achieve this? I have my Rode NTG5 plugged into output 1 but if I use output 2 to transmit the wireless go to my camera it does not work. Basically the only way I can make it work is by using line out and plugging directly into the camera, taking the wireless go out of the equation. If you could please let me know how you are achieving this that would be amazing. I would love to run my main mic feed into my cameras wirelessly if possible.
@@jakehubermedia9367 What I'm doing is sending the signal from the camera to the F6. I have is a splitter cable connecting the mic to the XLR port and the Wireless GO transmitter. So the camera gets a signal from the mic and the F6 also gets a signal from the mic. I've tried this with both the Rode VideoMic NTG and Rode VideoMic Pro+. Both seem to work much the same. I just did a bit of a test to see if I could produce what you appear to be after and it's fairly easy. I connected my mic to the F6, then connected the Wireless GO receiver to the 3.5mm input on the BMPCC4K and the transmitter to the line out or the headphones out. Doing this sent a strong signal to the camera (more so when the transmitter was connected to the line out). This would not work when the receiver was connected to the XLR port of the camera, which is a pity. Now I didn't do an actual audio recording to check the quality, but the concept works. I might have to look at this, as it does open up some opportunities.
@@ratherbyexploring4898 I think you're right. I just checked the original audio in Fairlight and it appears that the left channel is set louder than the right channel. I can't explain why that's happened. It's something that I'll have to look into and figure out why.
![Lil Uzi Vert - Chill Bae [Official Music Video]](http://i.ytimg.com/vi/D7F42F_JM3U/mqdefault.jpg)
Was led here by your reddit comment. Man what a greaet setup! Would be perfect for a traveling/run and gun filmmaker like me. Thanks for sharing.
It may not meet everyone's needs, but I don't think I could make it any better. Once it goes into that Lowepro bag, you wouldn't even know it's there.
@@AustralianImage do you have a link for the batteries you use? Or does it not matter really?
@@wcsdiaries The batteries don't matter that much. I use either Duracell Alkaline or Eneloops inside the F6 and inexpensive NP-Fs externally.
Oh you're the guy that I've been seing on reddit! Thanks for the video, getting one today!
You should be happy, it's great value for money and performs extremely well.
Excellent video. I also have the Zoom F6 with two sets of Røde Go and it works perfectly.
Thank you. I've found this to be a great all-round combination.
i have the same devices but i don't have those mounts for the rode transmitters.. where can i purchase? what's the actual name of those mounts? thanks in advance.
@@dolo747 The Wireless GO mounts are just cold shoes like these: www.amazon.com.au/SmallRig-Adapter-Bracket-Camera-Monitor/dp/B00HJFBUCQ/ref=sr_1_3?dchild=1&keywords=smallrig+cold+shoe&qid=1613428885&sr=8-3.
Man, you’re such a well organized fellow. That aside, it’s a great content. 👍🏾
Thanks. Getting things just right can sometimes be a blessing as well as a curse.
Thanks for this video! Did you drill into the bracket for the coldshoes?
Would you mind sharing the exact cable you used to connect the Wireless Go II to the F6 ?
Thanks in advance for sharing
Hi, just returned to your video, I saw it some time ago and like you I got the NUX B3 wireless set up. Got to ask, are you getting a lot of background noise from your set, I use it with an NTG 2 and gotta say the background noise is noticeable. Like you I’m using the wireless go systems with my F6, you get amazing quality sound from it, I use it with small mics for easy to place field recording, so compact and great audio for ambient or background sound.
Great video mate and tidy set up.
Thanks for the praise. No, I'm getting clean audio throughout, in fact I'm very surprised at how well the F6 works with wireless mics. I was having incredible trouble getting clean audio while recording in-car and the F6 solved everything: ruclips.net/video/ARArbWBF1-A/видео.html. I haven't used the NUX B3 very much, or much of my other gear, as we've been in lockdown for nearly two years because of COVID (200+ days in the last year and a half and counting).
@@AustralianImage Thanks for your reply, yes I’m shocked at the quality of the wireless audio with the Wireless go, it was the NUX B3 set up I’m getting background noise, maybe I need to ditch that set up and concentrate on the wireless go set ups.
Cheers Ivan
@@ive595 I have both the Wireless GO I and GO II units and they are pretty much all that I use, on their own or connected to a Lav or VideoMic NTG.
Awesome setup!
Great video. I need a recommendation, because when connecting the Rode Wireless GO to the zoom f6, the signal is very weak and when I increases the db, noise enters.
Have you set the F6 to 32 bit float recording or one of the others? If set to say 24 bit, then try dropping the gain in the Rode and raising it in the F6. I just use 32 bit float recording and don't seem to have any issues.
thx, very nice setup.
Where do you carry it while filming?
Bag? At your camera?
It's in a Lowepro Toploader Zoom 45 AW (the name is a coincidence) and the unit, with XLR cables connected, fits perfectly.
@@AustralianImage thx👍🏼
The biggest issue i am having currently is that i cannot silence tracks temporarily without turning the gain all the way down losing where it was previously set. I was able to do this on the F4 and it makes checking on the positioning of radio mics on set too tedious. Hoping to find a solution otherwise i will be sending it back!
I guess the only way to do it would be to disconnect the mic individually.
Thanks you just saved me tons of grief
Thanks, then it's been worth doing.
Cheers!
Nice compact and low budget setup!
But I still wish Zoom had brought out a Zoom F4n instead of an F6 :-/ :-(
I think given that the Zoom F8/F8n are not a great deal more expensive than the current F4, they probably didn't see the need to upgrade the F4. Mind you, for many, the Zoom F6 isn't budget.
@@AustralianImage Zoom has said they see the F6 as the replacement to the F4, when it is *not*.
The F6 in the grand scheme of things is definitely budget. The original Zoom F8 was truly revolutionary for how much it did, how good it was, and how dirt cheap it was!
Just like how the Nikon D90 / Canon 5Dmk2 / Panasonic GH1 etc were revolutionary for aspiring DoPs when they came out!! Costing so little yet offering so much, opening new doors for many aspiring DoPs starting out.
@@SoundSpeeding Yes, when it comes to the film industry, the F6 is a throwaway item, much like the BMPCC4K/6K. But what you say kind of confirms what I thought, the F4 has actually been replaced by the F8n. I don't think they could have kept the F4 line going with the introduction of the F6 and what the F8n offers. I kind of equate the Zoom F6 with the BMPCC4K/6K cameras, affordable, but punching way above their weight. As I noted in the video, the form-factor and features of the F6 were what took the MixPre 3 II out of the equation.
@@AustralianImage The F4 was intended as a lower budget version of the F8, that spot as been replaced by the F6. Thus the F6 "replaces" the F4, but it doesn't.... because you lose too much stepping down from a F8n to a F6, thus the F6 isn't simply a "lower budget F8n" like the F4 was for the F8.
(I understand though why they terminated the F4 after the F6 came out, just is a pity a F4n didn't happen instead. Perhaps the F6 could've been an even more compact "Zoom F3", to further distinguish it from an F4n)
I was before comparing the F8 with the D90/5Dmk2/GH1/etc because those cameras were truly revolutionary and game changing, that era was called the "HDSLR Revolution". Not only did they open the doors to young aspiring filmmakers, but they were even used as A Cam on quite high profile productions, such as an episode of House and the pilot of Key & Peele, just to name a couple of many examples.
The same is true for the Zoom F8/F8n, but for the Sound Department. We live in a fantastic time of opportunity!
@@SoundSpeeding I have to admit that I don't know enough about the industry to make more than observational comments based on what I've researched (and do I research), but even then my knowledge can be wanting. I see where you're coming from, but I guess Zoom has observed their market and decided that to compete with the likes of Sound Devices, they can't keep all product lines going. In fact, it can become confusing to the buyer when too much overlap happens with products and then people start complaining about lack of this or that in one line or the other. I look at it this way, there is absolutely no way I could have bought or justified something equivalent to the quality and performance of the F6, or BMPCC4K, of say 10 years ago. I could justify my stills gear as that was all work related, but audio/video gear, not a chance. And we certainly do live in fortuitous times.
hello, what cable did you choose to connect Rode Wireless GO? xlr - 1/4" TRS?
It's a 30cm male XLR to 3.5mm cable, similar to this: www.amazon.com.au/Wireless-Microphone-Internal-Thread-Microphones/dp/B089YQJS3V/ref=sr_1_56?dchild=1&keywords=30cm+male+xlr+to+male+3.5mm+cable&qid=1614412005&sr=8-56.
So you can run 32 bit float into the camera using the rode lav hooked to the zoom F6?
It's not 32bit float into the camera (the camera doesn't support 32bit float), but what appears to be 32bit float from the VideoMic NTG transmitted to the Zoom F6 via the Wireless GO attached to the mic. To be honest, I have not been able to confirm whether the Wireless GO does transmit an analogue signal to the receiver and then the Zoom F6, but the end result is much the same. I've done tests in Fairlight and can bring out almost inaudible sounds and make them quite clear and clean. There's some sort of magic happening, but I don't really know what it is and why it's happening. But I won't look a gift horse in the mouth.
@@AustralianImage Thanks for the quick reply! I’ve got the same setup. Is there anything specific that needs to be done with the wireless go or is it just plugging in and adjusting volume as needed on the F6?
@@jakehubermedia9367 I just plug in the Wireless GO and set the F6 volume to about half way or so that it doesn't peak, but I'm not sure if it really matters. Either way, it seems to work.
@@AustralianImage So I just tested this but I may be misunderstanding slightly. Are you sending a feed from the H6 to the camera using the Rode wireless go system? If so, how are you able to achieve this? I have my Rode NTG5 plugged into output 1 but if I use output 2 to transmit the wireless go to my camera it does not work. Basically the only way I can make it work is by using line out and plugging directly into the camera, taking the wireless go out of the equation. If you could please let me know how you are achieving this that would be amazing. I would love to run my main mic feed into my cameras wirelessly if possible.
@@jakehubermedia9367 What I'm doing is sending the signal from the camera to the F6. I have is a splitter cable connecting the mic to the XLR port and the Wireless GO transmitter. So the camera gets a signal from the mic and the F6 also gets a signal from the mic. I've tried this with both the Rode VideoMic NTG and Rode VideoMic Pro+. Both seem to work much the same.
I just did a bit of a test to see if I could produce what you appear to be after and it's fairly easy. I connected my mic to the F6, then connected the Wireless GO receiver to the 3.5mm input on the BMPCC4K and the transmitter to the line out or the headphones out. Doing this sent a strong signal to the camera (more so when the transmitter was connected to the line out). This would not work when the receiver was connected to the XLR port of the camera, which is a pity.
Now I didn't do an actual audio recording to check the quality, but the concept works. I might have to look at this, as it does open up some opportunities.
Was this recorded on a stereo mic? The balance is off to the left side.
This was recorded on a Rode Wireless GO (just mono). So I listened to it using headphones to check and there's no left bias that I can discern.
@@AustralianImage hmmm, well it sounds noticeable compared to your BMPCC tabletop vid.
@@ratherbyexploring4898 I think you're right. I just checked the original audio in Fairlight and it appears that the left channel is set louder than the right channel. I can't explain why that's happened. It's something that I'll have to look into and figure out why.
This sounds terrible! 😂
That is highly informative.
The noise is so high. Was there any inference while filming?