One of your biggest followers (haha...me) is an audio geek! I went to school for audio engineering and have a degree in it and Im also an electronic music producer whos had my songs played at Tomorrowland, EDC, any festival you name it. Yes, bit depth is exactly like dynamic range. In audio theres typically 3 bit depth we work with -16, 24, and then 32 (float). In audio today we all work in digital so 0 dB doesnt mean "no volume), 0dB is actually the opposite - its max volume. Anything that goes OVER 0dB (in digital we call THIS dB value dBFS or "full scale") is clipped. Think of it like clipping your highlights that cant be recovered. Its chopped, gone, never coming back. In Music, we like to render our music for delivery in 16 bit, audio for cinema or video is best at 24 as sound in cinema can become EXTREMELY dynamic from scene to scene (think action movies here) youll want that extra range. Now 32 bit (which some of you might see as an opinion for PCM...which is rendering the audio in a uncompressed format) you might see the option for 32 bit. 32 bit doesnt exactly work like 16 or 24 where you still have what we call "the ceiling" or "0 dBFS." You can actually go over 0dB and while yes, the meter says you are clipping, this IS recoverable. Its very interesting how it works. Some "audiophiles" will actually say this is an "infinite dynamic range" but its really not, nothing in digital is ever infinite. Im not sure why you would use 32bit Float in Video unless the tracks are rendered separately to go to someone like me to mix all the tracks of audio for the final production because typically for mixing and mastering in music...we send out all our audio tracks of the song in "32 bit float". incase anything was clipping through the master channel....the mixing/mastering engineer has that freedom to pull it back down to avoid "digital distortion". Someone distortion is good, but not Digital distortion. it sounds horrible and unpleasant unlike ANALOG distortion which can give sounds a very warm sound (think heavy metal guitars). So thats "Bit Depth". In short, the higher the bit depth, the more *Dynamic range* in volume you have to work with. I say - always go with 24 bit. But for RUclips? 16 bit is fine and most wont notice the difference at all. Sample rate is a good one. The human hear can only hear audio in the frequency spectrum from 20 hz (bass or low end) to 20,000 hz (20 kHz) (high end or treble),, so sample rate captures whats in-between those frequency ranges. But the higher the sample rate, the more information in captures inside that frequency spectrum of 20hz - 20khz. So 20hz to 20khz...why do we see sample rales of 44.1 kHz, 48 kHz, 96 kHz??? This is called the Nyquist Theorem. Its that a sinuisoidal function in time or distance can be regenerated with no loss of information as long as it is sampled at a frequency greater than or equal to twice per cycle. so 20khz x2 is 40khz...or really - 44.1 khz. Its kind of like dynamic range sort of. Youre just capturing even more frequencies inside the 20hz to 20khz. Remember, we are working with digital here - nothing is infinite. Everything is 0's and 1's. So look at a basic Sine Wave, From afar it looks like a nice smooth slope that comes up and down...now "pixel peep" (haha) that sine wave zoomed in like 800% inside an audio workstation software....it doesnt look so smooth anymore does it? IT almost looks like as the wave climbs or comes down, it looks like steps or a stair case. Again, because there is nothing infinite in Digital. So the higher your sample rate...the more "steps" youll have, giving you a more smoothed out slope, thus equalling better audio because theres more information. So just always pick the highest ones right? No. It always depends on the projects and what you are doing. Music we work in 16-bit 44.1khz, video is typically 24-bit 96 kHz, but in this new digital era? Dont even bother trying to wrap your head around it. Its too much tech talk for very little return. 16 bit and 24 bit are both fine for video. No one will notice the difference especially for RUclips. RUclips will actually compress your rendered audio in your video to MP3 at 320kbps, so it doesnt even matter at that point. 16-bit 44,1khz is totally ok for RUclips. If its going to cinema? Yea, worry more on the 24-bit 96 kHz sample rate - the audio engineers will love you for that. Does it matter? Not really. It just gives more room to work. Again, if you are delivering to RUclips, youre not going crazy on the audio and you edit yourself? 16-bit 44.1khz. Even if its a small film production and the delivery is still a streaming platform? 16-bit 44,1khz samplerate. At the end of the day in the digital era, the medium or platform your project is going on WILL compress it to save space on the hard drive in the server farm in bum-fuck Egypt somewhere and all that high quality audio that took up so much hard drive space will end up not mattering at all the second its delivered.
@@JasonMorrisphotocinema Which is a great question but nowhere in this video did you give us audio from the DJI mic to compare it with - or did I miss that somehow?
I still don't know why these kind of mics (specially RODE and DJI) do not have digital sony MI shoe support/contact built in. Aill of them have a cold shoe size clip. HW wise, just add a few contacts there and some locking mechanism. As most of the users buying these for video are using sony, it would be a killer feature for most and would pick their wireless mic with this digital MI connect ion option.
Most user user sony? that is really narrow minded thinking, and if you happen to switch system or if they did an updated version few years down your current sony exclusive kit will go down too, hence it good to have nuetral accessory. Like my Sony tripod with video remote doesnt work with new sony cause they dont have the connector to them anymore.
Hey Jason! Love your channel but the dw30 DOES NOT record 24 bit on board... It's 16 bit. I bought and returned today because i want 24 bit on board recording. It does have very good 16 bit quality audio though
The internal recording is a nice feature to have. I'm someone that uses an external recorder anyway - the Zoom H1 - with a lav. For the price, I'd probably be better off with one of Zoom's 32-bit lav setup, but I do like the concept for people that need something like this at a good price.
Have you looked as the Saramonic Blink kits? For a company that was basically a cheap Sony clone they now make stuff that is a lot better than anyone at a great price point.
Quick comment on the distance thing. It's more about power. The greater the range the better chance the signal will punch through clothing, drywall, between floors, etc.
One of your biggest followers (haha...me) is an audio geek! I went to school for audio engineering and have a degree in it and Im also an electronic music producer whos had my songs played at Tomorrowland, EDC, any festival you name it. Yes, bit depth is exactly like dynamic range. In audio theres typically 3 bit depth we work with -16, 24, and then 32 (float). In audio today we all work in digital so 0 dB doesnt mean "no volume), 0dB is actually the opposite - its max volume. Anything that goes OVER 0dB (in digital we call THIS dB value dBFS or "full scale") is clipped. Think of it like clipping your highlights that cant be recovered. Its chopped, gone, never coming back. In Music, we like to render our music for delivery in 16 bit, audio for cinema or video is best at 24 as sound in cinema can become EXTREMELY dynamic from scene to scene (think action movies here) youll want that extra range. Now 32 bit (which some of you might see as an opinion for PCM...which is rendering the audio in a uncompressed format) you might see the option for 32 bit. 32 bit doesnt exactly work like 16 or 24 where you still have what we call "the ceiling" or "0 dBFS." You can actually go over 0dB and while yes, the meter says you are clipping, this IS recoverable. Its very interesting how it works. Some "audiophiles" will actually say this is an "infinite dynamic range" but its really not, nothing in digital is ever infinite. Im not sure why you would use 32bit Float in Video unless the tracks are rendered separately to go to someone like me to mix all the tracks of audio for the final production because typically for mixing and mastering in music...we send out all our audio tracks of the song in "32 bit float". incase anything was clipping through the master channel....the mixing/mastering engineer has that freedom to pull it back down to avoid "digital distortion". Someone distortion is good, but not Digital distortion. it sounds horrible and unpleasant unlike ANALOG distortion which can give sounds a very warm sound (think heavy metal guitars). So thats "Bit Depth". In short, the higher the bit depth, the more *Dynamic range* in volume you have to work with. I say - always go with 24 bit. But for RUclips? 16 bit is fine and most wont notice the difference at all.
Sample rate is a good one. The human hear can only hear audio in the frequency spectrum from 20 hz (bass or low end) to 20,000 hz (20 kHz) (high end or treble),, so sample rate captures whats in-between those frequency ranges. But the higher the sample rate, the more information in captures inside that frequency spectrum of 20hz - 20khz. So 20hz to 20khz...why do we see sample rales of 44.1 kHz, 48 kHz, 96 kHz??? This is called the Nyquist Theorem. Its that a sinuisoidal function in time or distance can be regenerated with no loss of information as long as it is sampled at a frequency greater than or equal to twice per cycle. so 20khz x2 is 40khz...or really - 44.1 khz. Its kind of like dynamic range sort of. Youre just capturing even more frequencies inside the 20hz to 20khz. Remember, we are working with digital here - nothing is infinite. Everything is 0's and 1's. So look at a basic Sine Wave, From afar it looks like a nice smooth slope that comes up and down...now "pixel peep" (haha) that sine wave zoomed in like 800% inside an audio workstation software....it doesnt look so smooth anymore does it? IT almost looks like as the wave climbs or comes down, it looks like steps or a stair case. Again, because there is nothing infinite in Digital. So the higher your sample rate...the more "steps" youll have, giving you a more smoothed out slope, thus equalling better audio because theres more information.
So just always pick the highest ones right? No. It always depends on the projects and what you are doing. Music we work in 16-bit 44.1khz, video is typically 24-bit 96 kHz, but in this new digital era? Dont even bother trying to wrap your head around it. Its too much tech talk for very little return. 16 bit and 24 bit are both fine for video. No one will notice the difference especially for RUclips. RUclips will actually compress your rendered audio in your video to MP3 at 320kbps, so it doesnt even matter at that point. 16-bit 44,1khz is totally ok for RUclips. If its going to cinema? Yea, worry more on the 24-bit 96 kHz sample rate - the audio engineers will love you for that. Does it matter? Not really. It just gives more room to work. Again, if you are delivering to RUclips, youre not going crazy on the audio and you edit yourself? 16-bit 44.1khz. Even if its a small film production and the delivery is still a streaming platform? 16-bit 44,1khz samplerate. At the end of the day in the digital era, the medium or platform your project is going on WILL compress it to save space on the hard drive in the server farm in bum-fuck Egypt somewhere and all that high quality audio that took up so much hard drive space will end up not mattering at all the second its delivered.
Thanks for adding all this 🤯🤯 awesome work my friend
"don't DESTROY your audio, dji mic KILLER"... Love the content; hate the titles. That's for doing a great work man
It asks questions that I answer in the video
@@JasonMorrisphotocinema Which is a great question but nowhere in this video did you give us audio from the DJI mic to compare it with - or did I miss that somehow?
Hello Jason! Thank you so much for the great video!!!☺
i can't trust you with portable mic options jason haha love your work mate
You should have a look at the GODOX Movelink M2. I think they are the best sounding, feature packed, budget wireless mic kit
I still don't know why these kind of mics (specially RODE and DJI) do not have digital sony MI shoe support/contact built in. Aill of them have a cold shoe size clip. HW wise, just add a few contacts there and some locking mechanism. As most of the users buying these for video are using sony, it would be a killer feature for most and would pick their wireless mic with this digital MI connect ion option.
Might be dependant on it sony will allow it. Sonys version the ECM-W2BT does it
@@JasonMorrisphotocinema Yes, but it is not a very feature-rich device with a relative high price-tag.
Most user user sony? that is really narrow minded thinking, and if you happen to switch system or if they did an updated version few years down your current sony exclusive kit will go down too, hence it good to have nuetral accessory. Like my Sony tripod with video remote doesnt work with new sony cause they dont have the connector to them anymore.
Hey Jason! Love your channel but the dw30 DOES NOT record 24 bit on board... It's 16 bit. I bought and returned today because i want 24 bit on board recording. It does have very good 16 bit quality audio though
Great video Jason. Though to compete with the mighty dji
Tis tough! But cheaper is a plus with similar features
The internal recording is a nice feature to have. I'm someone that uses an external recorder anyway - the Zoom H1 - with a lav. For the price, I'd probably be better off with one of Zoom's 32-bit lav setup, but I do like the concept for people that need something like this at a good price.
32 bit float is an awesome thing to have that’s for sure
Have you looked as the Saramonic Blink kits? For a company that was basically a cheap Sony clone they now make stuff that is a lot better than anyone at a great price point.
Quick comment on the distance thing. It's more about power. The greater the range the better chance the signal will punch through clothing, drywall, between floors, etc.
This is true
DJI Mic killer must have internal 32-bit recording. DJI Mic sounds better as well. But we need more options to have more innovation.
These cheaper options are great to push other companies
It sounded a little muffled to me but still a very nice system. I can't believe I am seeing a product that doesn't say Sony on it . . .lol
Hahahahah
No 32 but float ? Yeah pass
Haha