The Best Mics for YouTube : 4 of the Best YouTube Microphones On The Market

The Best Mics for YouTube : 4 of the Best YouTube Microphones On The Market

Sound one of the key aspects you need to balance the equation when it comes to filming those mouth opening YouTube videos. Like we’ve said before, poor sound is often more noticeable than poor video quality. That’s why we’ve put together this list where we look at the best mics for YouTube videos.

Fortunately, the advancement in technology has done a lot for the area of audio. As well as now being able to easily get our hands on cameras that shoot brilliant 1080p HD and 4K video quality, for a very reasonable price we can now get solid audio options for YouTube videos.

Microphones for YouTube videos come in all different shapes and sizes to get that sound quality you have been fantasizing about. We’re going to cover a range of affordable price points in this list, and what you choose depends largely on the kind of YouTube videos you are aiming at.

Selecting the best YouTube microphone comes with a frequently asked question which is: What kind of YouTube videos? This is definitely the most important question that must be discussed before reaching for a vlogging microphone.

We’ll discuss the answer to this question throughout the article and we’ll start by outlining some of the classifications for the various YouTube microphones out there. After all, don’t you get a little confused you see all the jargon when searching for the best YouTube microphone?

The best mics for YouTube can be classified into one of the following categories:

USB microphones

Most people require a standard USB plug-in microphone, especially when getting started with their YouTube videos.

They are known to be one of the most popular microphones for more than half of the video types in the YouTube video world. They’re great for anything you’ll be filming at or near a computer. This covers things like:

  • podcasts,
  • vlogging,
  • gaming walkthroughs,
  • face-to-camera monologues
  • and more.

Camera microphones

Those filming outside with their camera or even indoors without a computer nearby may need to use the microphone on their camera.

We won’t be covering these here, as we’re just covering standalone microphones in this article. However, I mentioned this aspect of audio recording here for the sake of clarity.

Lavalier microphones

These are the little clip-on mics you’ve heard about on TV interviews, etc. More common in non-intrusive interviews, seminars and performances, this are really handy mics that can easily be hidden from the audience’s eyes.

Although they aren’t as common, you may be interested in filming some videos outside where the microphone can’t be seen (perhaps YouTube public pranks and such).

The best microphones for YouTube videos

Let’s look at our favorite mics for helping you make great YouTube videos.

USB microphones are nothing new, but the Samson Go Mic is probably the smallest and handiest on the market.

The body is made of metal which measures just 70.5 x 43.5 x 23mm in size, it employs a pair of back-to-back, cardioid, 10mm, back-electret capsules, so it can be switched between cardioid and omni patterns.

Also novel is the combined mount and mic storage clip, which incorporates a swivel joint to let you set the mic at the required angle.

When not in use, the mic folds back into the clip, and the whole thing goes into a zip-up storage pouch that’s no larger than the kind that would fit a pair of earbuds.

Usefully, the mount has a standard European mic thread, so that it can be screwed onto a mic stand if necessary.

Connection is via a miniature USB cable. And for monitoring there’s a 3.5mm stereo mini-jack headphone output on the side of the mic.

A three-position slide switch selects between the cardioid and omni patterns, and when in the center position it gives a cardioid pattern with a 10dB pad.

The mic is a USB class-compliant device, so it needs no drivers. Once selected from within my DAW software (in our test case, Logic 8), the mic becomes the source and appears as a stereo input, with both channels carrying the same signal.

For mono tracks, selecting either of the two inputs provides the necessary mono signal. Monitoring is in stereo and is simply the DAW output, so there’s no direct ‘zero latency’ monitoring option. The headphone output on the mic gave subjectively the same sound quality as my Mac’s own headphone output.

By way of recording performance, the mic has a fairly flat response, running from 80Hz to 18kHz in cardioid mode, and from 20Hz to 20kHz in omni mode. Used with fairly close sources, no significant background noise was evident.

Samson Go Mic Portable USB Condenser Microphone

  • Portable USB condenser microphone
  • Plug and Play Mac and PC compatible, no drivers required
  • Custom compact design that clips to a laptop or sits on a desk
  • Perfect for recording music, podcasting and field recording
  • Ideal for voice recognition software, iChat, VoIP and web casting

This absolute classic that everyone knows and loves is a multi-pattern microphone that plugs straight into your computer.

Blue’s USB offering comes in their now-familiar Ball format blue, red and black varieties, the Snowball has a resin casing with wire-mesh grilles at front and rear. A threaded stand-adaptor is set into the base and a neat table-top tripod stand comes with the microphone, along with a USB cable for connection to a computer.

Besides a USB port, the mic’s only means of connection, there’s a three-position switch at the rear which is used to switch between two cardioid-pattern modes (one with a -10dB pad and one without) and an omnidirectional mode.

Overall, the frequency response extends from 40Hz to 18kHz (at -6dB, judging from the response curves given on the Blue website), with a presence peak at 3kHz in cardioid mode and at around 10kHz in omni mode. A red light on the mic shows that it is active and all necessary power comes from the computer’s USB bus power supply.

The converter’s built into the microphone, which has a capacitor capsule, are fixed at 16-bit/44.1kHz and the mic can be used with computers running Windows XP or Mac OS X without the need to install additional drivers. Inside the host software, the mic shows up as two identical input sources, rather than as a single mono source.

There’s no denying that a bus-powered USB mic is a very neat solution to recording audio into a laptop or domestic computer system, and this one produces subjectively high-quality results. Providing you use it close enough to the source to get a healthy recording level, by which I mean a signal peaking at -15dB or higher.

In my view, the omni mode is best thought of as offering a different tonal flavor to the cardioid modes. The pickup pattern is not truly omnidirectional and I wouldn’t consider the mic to be well suited to recording round-table discussions in this mode, but used appropriately th sound quality is fine and the background noise acceptably low.

If you’re going to use this mic for Podcasting, it will produce the best results if you speak into it from around six inches away, and you can choose omni or cardioid mode depending on which tonality suits your voice best.

For loud instruments, the pad is a sensible and welcome addition, but because there is no variable gain control you’ll sometimes have to use the mic’s distance from the source as a gain control instead. And this may mean compromising on placement.


Blue Snowball iCE Condenser Microphone, Cardioid – Black

  • Custom condenser capsule offers crystal clear audio for Skype, Messages and FaceTime
  • Record vocals, create podcasts, and add narration to your home movies
  • Add crystal clear audio to recordings for YouTube. Frequency Response: 40 -18 kHz
  • Easy plug and play directly to your Mac or PC-no drivers to install
  • Snowball iCE is a USB 2.0 device (USB 3.0 compatible as per USB 3.0 backward compatibility…

Compatible with PC and Mac and ready to use when and where you need it. A triple capsule array allows for recording in stereo or your choice of 3 unique settings (cardioid, omnidirectional and bidirectional), giving you recording capabilities usually reserved for multiple microphones.

Analog-to-digital converter sends incredible audio fidelity directly to your computer.

Built-in headphone amplifier provides zero-latency monitoring.

Simple dial control quickly changes headphone volume, pattern selection or switch to mute all from your microphone.

Blue Yeti USB Microphone – Blackout Edition – 2070

  • Tri-capsule array – 3 condenser capsules can record almost any situation;Power Required/Consumption:…
  • Multiple pattern selection – cardioid, bidirectional, omnidirectional & stereo. Microphone…
  • Gain control, mute button, zero-latency headphone output. Dimensions (extended in stand) : 4.72 x…
  • Perfect for vocals, musical instruments, podcasting, voiceovers, interviews, field recordings,…
  • Compatible with Windows 10, Windows 8 (including 8.1), Windows 7, Windows Vista, Windows XP (Home…

This time-tested offering from Apogee is another one of the best microphones for YouTube if you’re at or near a desk and a USB mic is what you’re after.

It will deliver excellent quality of sound very similar to what you expect in the studio (we’ve heard quite a few musicians use this for some vocals or acoustic recording).

It connects to Windows and Mac devices as well as any smart device with a 3.5mm connector, which will enable easy recording of some high-quality external sound for those videos regardless of what you’re using.

You can get away with using it with cameras as well, perhaps just not outdoors. For technical specs, it is equipped with cardioid polar pattern and an easy USB connection for great plug-n-play ease of us.

You have up to 96 kHz/24-bit HD recording, ‘PureDIGITAL connection’, and combines a microphone, microphone preamp and an A/D converter into one device.

What also qualifies this microphone as one of the best mics for YouTube is its versatility for different types of voices and uses.

Apogee MiC 96k Professional Quality Microphone for iPad, iPhone, and Mac

  • Studio quality cardioid condenser microphone
  • Designed for vocal and acoustic instrument recording. Also great for recording interviews, podcasts,…
  • Up to 96 kHz/24-bit HD recording
  • Works with iPhone, iPad, iPod touch, and Mac. Lightning and Mac USB cables included.
  • Powered by connection to iPad, iPhone or Mac (no batteries or external power required).iOS Device…

Best Mics for YouTube – A Conclusion

As with any kind of gear purchasing decision, you need to look at a number of factors when it comes to buy your YouTube microphone. The main ones are:

  1. Use case
  2. Price
  3. Durability
  4. Travel / Weight options

Use case is of prime importance. If you want to look like most YouTubers and do a face-to-camera production, then having a USB mic clearly in front of you is standard. People expect to see that from YouTubers, as we’ve had years of getting primed for that look. If you use a clip-on lav mic in this situation (for example) it might look a little off.

Equally, if you’re out and about and not in front of your computer when using your mic, then the lav mic option might be a better bet.

Price is a big consideration. You don’t want to go with something that’s going to break your budget when you’re just starting out as a YouTube influencer. Instead, start small and then scale up as you start making more money with your YouTube business.

Durability and travel / weight go hand in hand. If you’re shooting a lot of stuff on the go, and travelling a lot, then a light microphone that breaks down easily for packing is the way to go. You also don’t want to be hauling something really heavy around if you’re walking a lot with your gear and moving from location to location.

We hope this article on the best microphone for YouTube videos has been helpful to you. We’ve tried to cover all the bases here and feature our favorite YouTube mics for a range of budgets and use cases.

Have we missed out your favorite YouTube mic? Let us know in the comments just below.

You Should Try:

Published at Thu, 20 Sep 2018 14:04:21 +0000

IBC 2018: Specs for two new Fujinon UA 4K series lenses

IBC 2018: Specs for two new Fujinon UA 4K series lenses

FUJIFILM has announced two new models in their UA Series of 4K broadcast lenses, the FUJINON UA46x13.5BERD (UA46x13.5) and FUJINON UA70x8.7BESM (UA70x8.7) with the UA46x13.5 boasting two world firsts.



The UA46x13.5 is a portable 4K broadcast lens that offers the world’s highest zoom magnification*1 of 46x and world’s longest focal length*2 of 621mm. The UA70x8.7 is a box-type lens that covers most frequently-used focal lengths from 8.7mm on the wide-angle end to 610mm in telephoto. The UA46x13.5 will be released in May 2019, while the UA70x8.7 is scheduled to be released in November 2018.


With the introduction of the two new models, Fujifilm will meet the diversifying needs of broadcast production with an extensive lineup of eleven lenses in total.

Fujifilm launched the world’s first 4K-compatible broadcast lens in 2015. Since then, the company has rapidly expanded the lineup to lead the industry, catering to the needs for 4K video production, while also addressing demand for HD video of even greater image quality, thereby facilitating premium-quality video production.


 The UA46x13.5 offers the world’s highest*1 46x zoom among portable 4K broadcast lenses, covering the focal lengths from 13.5mm on the wide angle end to 621mm in telephoto, the world’s longest focal length*2. Take advantage of the impressive focal length range available on the telephoto end to produce powerful video, capturing even the facial expression of a distant athlete in high definition in live sports broadcast.

 The use of cutting-edge optical design technology reduces various chromatic aberrations, reproduces vivid colours and achieves high contrast to produce clear 4K video with rich tonal gradation in high dynamic range (HDR).

 The lens is equipped with Fujifilm’s proprietary image-stabilisation mechanism and drive unit to enable stable video recording and comfortable operability with minimal camera shake.


 The UA70x8.7 offers 70x zoom, covering the focal lengths from 8.7mm in wide angle and 610mm in telephoto.

 The floating focus system, which controls multiple lens groups according to the shooting distance, achieves high-resolution footage across the entire zoom range. It produces dynamic 4K video in various scenes, such as concert coverage or live broadcast, zooming from a wide view of the venue straight into an artist on stage.

The UA46x13.5 and UA70x8.7 also produces video of higher image quality even when mounted on an HD broadcast camera.

Fujifilm will premiere the US70x8.7 alongside its extensive lineup of 4K broadcast lenses at IBC 2018 from 14-18 September at the RAI Centre in Amsterdam.

*1 World’s largest zoom magnification among portable 4K broadcast lenses according to Fujifilm data as of September 13, 2018
 World’s longest focal length among portable 4K broadcast lenses according to Fujifilm data as of September 13, 2018 

Picture credit

The new the FUJINON UA46x13.5BERD (UA46x13.5) and FUJINON UA70x8.7BESM (UA70x8.7) lenses


Published at Wed, 19 Sep 2018 22:50:47 +0000

New Tutorial & ORB Plug-in Now Available!

New Tutorial & ORB Plug-in Now Available!

Here we go! Our new 3D ORB plug-in for After Effects is now available! This tutorial goes in-depth into many powerful features that will allow you to create amazing visuals!

Watch on Youtube!

Check out our sweet mini-site to download the plug-ins!

Check compatibility info and be sure to update your drivers if you have any issues running the plug-in.

Published at Wed, 19 Sep 2018 02:18:31 +0000

IBC 2018: Canon announces four new cinema products

IBC 2018: Canon announces four new cinema products

Canon Australia is excited to announce four new additions to its impressive cinematic product range:

·       The XF705 camcorder

·       Two new field zoom lenses for broadcast cameras – UHD-DIGISUPER 122 and UHD-DIGISUPER 111

·       The CJ25ex7.6B zoom lens

XF705 camcorder

Available December 2018

Key features:

·       Next-generation XF-HEVC format: offers 4K UHD 50P 4:2:2 10-bit recording to SD cards, with impressive image quality and superior levels of detail

·       1.0 type CMOS sensor and DIGIC DV6 processing: delivers improved noise performance, sensitivity and cinematic depth of field

·       Enhanced HDR capabilities: an advanced 12G-SDI interface and IP streaming

·       Advanced 12G-SDI interface: ability to stream 4K UHD HDR using the HEVC format via the network

·       Accurate and reliable Dual Pixel CMOS AF: fast autofocus with touch focus control, Face Detection AF and object tracking


Available early 2019

Key features of both:

·       Optical performance: exceeds 4K with focal lengths covering a broad range, high zoom ratios and superlative operability

·       Canon’s proprietary Air Sphere Coating: significantly reduces flaring and ghosting

Key features of UHD-DIGISUPER 122:

·       The world’s widest angle, longest focal length and highest zoomratio: 8.2 mm at the wide end and 1000 mm at the telephoto end—as well as the world’s highest zoom ratio1 of 122x

Key features UHD-DIGISUPER 111:

·       Higher zoom ratio than existing lenses: 111x zoom ratio and a focal length range of 8.3 mm to 925 mm

CJ25ex7.6B zoom lens Available January 2019

·       25x zoom ratio: Superb optical performance with focal length range from 7.6mm to 190mm

·       Lightweight body design: Weighs approximately 1.99kg for advanced maneuverability

Published at Tue, 18 Sep 2018 00:44:48 +0000

New Plug-in Trailer: ORB!

New Plug-in Trailer: ORB!

Today I’m excited to share with you our new plug-in ORB! My little side project turned into a much bigger one and hopefully this plug-in will help your take After Effects to the next level!

Available next week!

Watch on Youtube!

Like all Video Copilot plug-ins, this one has evolved! At first I was making a tutorial with CC sphere but it was taking too much work to get it be 3D-Aware! So we decided to make our own plug-in from scratch using similar to Element 3D except just focusing on making a 3D Sphere!

And that’s when things got out of control! Needless to say this plug-in has even more capabilities than demonstrated here and I look forward to showing you all the handy new features!

Published at Mon, 10 Sep 2018 22:47:32 +0000

Canon breaks new ground in lens design – world’s lightest 400mm f/2.8 and 600mm f/4 lenses and premium 32mm mirrorless

Canon breaks new ground in lens design – world’s lightest 400mm f/2.8 and 600mm f/4 lenses and premium 32mm mirrorless

Setting yet another historic milestone in lens design and marking a step change in optical quality, Canon Australia today launches the EF 400mm f/2.8L IS III USM and EF 600mm f/4L IS III USM – the world’s lightest professional super telephoto lenses in their class1,2. Additionally, Canon announces the EF-M 32mm f/1.4 STM – a premium 32mm mirrorless lens designed exclusively for the EOS M system.

Embracing the legacy of quality synonymous with the EOS system, yet compatible via adapters with the innovative new, EOS R System – the drastically lighter EF 400mm f/2.8L IS III USM and EF 600mm f/4L IS III USM radically enhance usability, giving photographers the confidence to consistently deliver superior images.  

World’s lightest 400mm f/2.8 and 600mm f/4 lenses

These two new telephoto lenses encompass a revolutionary combination of ultra-high performance and lightweight design. The EF 400mm f/2.8L IS III USM and the EF 600mm f/4L IS III USM are the world’s lightest 400mm f/2.81 and 600mm f/4 lenses 2, making them ideal for action and wildlife photography. Thanks to five-stop Image Stabilizer (IS) technology, their game-changing weight and the portable design, both lenses allow photographers to achieve professional performance with the confidence to shoot handheld, as camera shake, and subsequent blurring, are significantly reduced.

A blend of cutting-edge optical formulas have dramatically reduced the EF 400mm f/2.8L IS III USM’s weight to 2840g (previously 3850g), and EF 600mm f/4L IS III USM’s weight to 3050g (previously 3920g).  Sporting the familiar white finish that Canon L-series super telephoto lenses are renowned for, the coating acts as a thermal insulation coating to ensure the lenses operate consistently in all temperatures. The protective weather sealing guards against dust and moisture, while fluorine coating enables easy cleaning of the lens.

The fluorite lens elements virtually eliminate chromatic aberration, boosting resolution and contrast. The Air Sphere Coating (ASC) dramatically reduces flare and ghosting – ensuring a quality shot every time. The EF 400mm f/2.8L IS III USM and EF 600mm f/4L IS III USM both have a nine-bladed diaphragm, enabling the creation of eye-pleasing blurred backgrounds.

Superb for action and wildlife, the ring-type USM autofocus motor and high-speed CPU enables fast and quiet focusing. When shooting video, both lenses provide pull-focus effects with power focus controls and focus presets, which are excellent for creative shot making. Instant adjustments can be applied via the full-time manual focus control and focusing speed can be customised with electronically-controlled manual focus for extreme precision.

Shooting images in the style users choose is easy, as both lenses have fingertip controls on the barrel allowing focusing to be started, stopped or locked in an instant. Furthermore, two pre-programmed focusing positions can be recalled instantly with the twist of the pre-set ring. Controls for focusing mode, focusing range, focus pre-set recall and IS are all conveniently located for seamless control. Paying attention to the way photographers like to work and travel, Canon provides a new soft case with the EF 400mm f/2.8L IS III USM and the EF 600mm f/4L IS III USM to ensure straightforward transportation for the lenses. Hard cases and a new short hood are also available as optional extras.

EF-M 32mm f/1.4 STM

The EF-M 32mm f/1.4 STM is a premium EF-M lens designed to be fast, discreet and capable of delivering exceptional detail and clarity, making it perfect for elegant portraits, candid photography or natural looking compositions. Offering a 51mm equivalent focal length, the EF-M 32mm f/1.4 STM provides a natural perspective and a ‘normal’ field of view, close to the perspective of the eye. This helps to bring candid images to life, with realism and detail, as they look natural and spontaneous. A wide f/1.4 aperture allows high-quality images to be captured with excellent depth-of-field control or to shoot in challenging low-light conditions. Also ideal for creative portrait photography, the EF-M 32mm f/1.4 STM’s 7-blade circular aperture creates an attractive bokeh effect, blurring the background, which accentuates the subject in the foreground.

Incorporating an exceptional quality, glass-molded, aspheric lens, the EF-M 32mm f/1.4 STM has an even greater level of image detail and edge-to-edge quality. With 14 elements in 8 groups, this lens possesses the high level of performance required to guarantee stunning images, while its wide, tactile, focus ring enables precision focusing that generates the precise results every serious enthusiast craves. The EF-M 32mm f/1.4 STM’s Super Spectra Coating achieves startling clarity by preventing the photographic phenomena that can ruin images, such as ghosting and flare. A remarkable mix of premium craft, ergonomic design and weighing only 235g, it is easy to carry on the move for candidly capturing any moment.

The EF-M 32mm f/1.4 STM maintains the usual EF-M series diameter, for a svelte and comfortable feel when shooting, while the 0.25x magnification and highly-versatile 23cm-close focusing enable the user to get right in to capture detail. The EF-M 32mm f/1.4 STM autofocus has a quiet and smooth mechanism, which provides subtlety when capturing an image, or when capturing amazing footage with video.

Today – in conjunction with the pioneering EOS R System – Canon pushes the boundaries in lens design and optical quality to ensure that all photographers and filmmakers have access to the best tools possible to tell their stories.


       EF 400mm f/2.8L IS III USM                December 2018

       EF 600mm f/4L IS III USM                   2019

       EF-M 32mm f/1.4 STM                        October 2018

Pricing set at dealer discretion.

Published at Thu, 06 Sep 2018 04:30:45 +0000

Canon calls all image makers to rethink the way they see and capture the world with the new EOS R System

Canon calls all image makers to rethink the way they see and capture the world with the new EOS R System

       New Canon RF lenses – Canon’s fastest and sharpest ever, and offering features never before seen

       New RF lens mount for enhanced communication and new lens design

       New EF-EOSR Mount Adapters for compatibility with 70+ EF/EF-S lenses

       New Canon EOS R full frame mirrorless camera 

The new EOS R System launches with:

·         Four lenses offering combinations of quality, speed and functionality that were previously impossible

o    RF 50mm f/1.2L USM – extremely fast, sharp, and with remarkable low-light performance

o    RF 24-105mm f/4L IS USM – first full frame Canon lens to feature Nano USM, ideal for filmmakers when smooth focusing is a must

o    RF 28-70mm f/2L USM – Canon’s first large-aperture full frame compatible standard zoom and impressive shock-absorption

o    RF 35mm f/1.8 MACRO IS STM a super-fast macro lens that offers a naturally wide-angle perspective, close-up focusing and Hybrid IS

·         Three newly-developed lens adapters allowing the EOS R System to inherit all existing system advantages, including full compatibility with existing EF (excluding EF Cinema) and EF-S lenses and accessories

o    Control ring mount adapter – incorporates the control ring found on RF lenses to enable users to maintain their setup

o    Drop-in filter mount adapter – enables the use of a range of drop-in filters to control exposure, while the circular polariser reduces reflections and enhances colour saturation

o    Standard mount adapter – simply enables lens attachment.

·         The first camera body to carry the EOS R name and RF lens mount

o    The EOS R is a unique combination that redefines photo and video performance with superb image quality, state-of-the art connectivity, unprecedented ergonomics and responsive handling.

More information:

Canon Australia has today redefined the frontiers of photography and filmmaking with the launch of the pioneering EOS R System. More than thirty years on from the era-defining EOS launch, the bold new EOS R System will once again enable image makers to rethink the way they see and capture the world. Featuring the all-new RF lens mount, the EOS R System has been engineered from the ground up to achieve the perfect blend of optical, mechanical and electronic design – creating a system that is, in every sense, revolutionary.

“Since its launch in 1987, the Canon EOS system has been the benchmark of imaging performance – from entry-level to professionals at the highest level,” says Jason McLean, Director ­– Consumer Imaging, Canon Australia. “We’ve continually pushed the boundaries of technology, design and innovation and today we build on that legacy with a revolutionary new system that enables photographers and videographers to look at the world through new eyes.”

A system designed with lenses at its core   

Conceived to enable the ultimate in lens design and performance, the new EOS R System launches with four lenses offering combinations of quality, speed and functionality that were previously impossible: the RF 28-70mm f/2L USM; RF 50mm f/1.2L USM; RF 24-105mm f/4L IS USM; and RF 35mm f/1.8 MACRO IS STM.  

The groundbreaking new lenses are made possible by the RF mount, which enables a flange back distance of 20mm and a wide 54mm diameter. Moreover, the mount’s 12-pin connection enables enhanced communication and power transmission between the lens and camera body, further expanding lens design options to deliver higher image quality and enhanced usability.

Redefining the meaning of intuitive control and operating comfort, all RF lenses will feature a customisable Control Ring to adjust aperture, shutter speed, ISO or exposure compensation, removing the need to break concentration by looking away from the subject. In addition, three newly-developed lens adapters (available separately) allow the EOS R System to inherit all existing system advantages, including full compatibility with existing EF (excluding EF Cinema) and EF-S lenses and accessories1. 

Cutting-edge optics

Setting new standards of quality and speed, the RF 50mm f/1.2L USM is an extremely fast 50mm f/1.2 L-series prime lens offering extraordinary levels of detail, supreme sharpness, stunning shallow depth of field and remarkable low-light performance. The RF 24-105mm f/4L IS USM is an L-series zoom lens and the first full frame Canon lens to feature Nano USM – ideal for filmmakers when smooth focusing is a must for natural-looking focus transitions, giving superb control and smooth tracking of the subject as it moves away or towards the camera. Slim and easy to handle,  the RF 24-105mm f/4L IS USM also features a fixed f/4 aperture, while the fast, silent autofocus and 5-stops of image stabilisation make it perfect for movie making. Also announced is the RF 28-70mm f/2L USM, Canon’s first large-aperture full frame compatible standard zoom, offering f/2 brightness throughout the zoom range. This fast lens features a lens barrel with a shock-absorbing mechanism that achieves excellent impact resistance for toughness and durability. Lastly, the RF 35mm f/1.8 MACRO IS STM is a super-fast 35mm f/1.8 macro lens ideal for street, travel and close-up photography, offering a naturally wide-angle perspective, close-up focusing and Hybrid IS.

70+ lenses at your fingertips

Three new EF-EFR lens mount adapters allow more than 70 EF and EF-S lenses1 to be used with the innovative EOS R System, adding new functionality to existing optics, while maintaining the excellent levels of performance and functionality previously seen with EOS DSLRs. The control ring mount adapter incorporates the control ring found on RF lenses to enable users to maintain their setup whether using RF or EF and EF-S mount lenses. The drop-in filter mount adapter offers the ability to use a range of drop-in filters (drop-in circular polarising filter or drop-in variable ND filter). Ideal for filmmakers and for use with lenses that are difficult to add filters to, the drop-in variable ND filter density filter controls exposure, while the circular polariser reduces reflections and enhances colour saturation. Additionally, a standard mount adapter simply enables lens attachment.

EOS R mirrorless camera – adding to the full frame family
Adding to the EOS full frame line-up, Canon has today unveiled the first camera body to carry the EOS R name and RF lens mount. The EOS R is very much a sum of its parts, offering a unique combination that redefines photo and video performance with superb image quality, state-of-the art connectivity, unprecedented ergonomics and responsive handling. Canon’s first camera with the ability to focus in light conditions as low as EV-6
2, the EOS R continues to please with astounding autofocus speed (Canon’s fastest: 0.05 seconds) and totally silent shooting for use in any setting.

The EOS R brings together high-performance RF lenses, a 35mm full-frame CMOS sensor with approximately 30.3 million effective pixels and the latest DIGIC 8 image processor, with almost every control on the EOS body customisable. As a first for Canon’s EOS camera series, the EOS R features a customisable multi-function bar, which can be personalised using a slide or touch motion for preferred settings such as ISO. 

Familiar, yet refined, the hallmark EOS ergonomics of comfortable hand grip and intuitive layout reassure professional and amateur users alike. Coupled with the weather-sealed robust magnesium alloy body, the setup and handling allow users to shoot for long periods with uninterrupted focus in the field. Designed for those on the move, always-on Bluetooth allows a smartphone to be paired with the EOS R and GPS data recorded in images. For additional creative capture, remote shooting via the Canon Camera Connect app offers freedom for flexible shooting.

Digital Lens Optimizer, which corrects factors such as lens aberrations, draws on the power of RF lenses to send correction data to the camera body, minimising impact on continuous shooting speed. In addition to Canon’s fastest autofocus, EOS R can capture moving subjects fast and accurately, with up to 8fps continuous shooting (fixed AF) and 5fps with AF tracking.

The EOS R has Touch and Drag AF, which enables intuitive selection of the impressive 5,655 available AF point positions. As Canon’s first camera to enable low-light autofocusing down to EV-6, the EOS R is optimised for low-light shooting thanks to the advanced Electronic Viewfinder (EVF), with 3.69 million dots, provides 100 percent coverage of the scene, making it possible to see subjects in accurate colour even in near-dark.

EOS R is a highly accomplished filmmaking tool delivering stunning 4K video footage featuring full audio control, a vari-angle screen and manual focus peaking. Additionally, filmmakers can output in 10-bit over HDMI with Canon Log to capture footage in neutral contrast, with up to 12-stops of dynamic range at ISO 400. This allows post-production grading to extract every subtle nuance of colour and detail in shadows and highlights.

EOS R accessories

In addition to the EF-EFR mount adapters, accessories for EOS R include a powerful and versatile battery grip. The battery grip, BG-E22, allows two high capacity lithium-ion LP-E6N batteries to be used and offers external battery charging via the PD-E1 USB Power Adapter, providing extended shooting and enhanced handling for the photographer, when used in the vertical position. For creative lighting options, the BG-E22 also features a PC terminal to allow a traditional wired studio flash to be used with EOS R.

Expanding the EOS system (Details in accompanying press release)

Further expanding the existing EOS System, Canon today also launches the EF 400mm f/2.8L IS III USM and EF 600mm f/4L IS III USM, two revolutionary, lightweight professional super telephoto lenses for the EF System.  Additionally, Canon announces a new premium portrait lens for the EOS M mirrorless system the – EF-M 32mm f/1.4 STM.

Also announced today, Speedlite EL-100 is a compact, lightweight and high-power flash gun with bounce and tilt functions and an auto mode that enables communication with compatible cameras to take the complication out of flash photography.

 Digital Photo Professional Express (DPP Express)

Enabling you to make the most of your images, and expanding the RAW development workflow for photographers, Canon today also launches the Digital Photo Professional Express (DPP Express), for iPad®3. Intuitive and easy-to-use, DPP Express is a high-performance RAW image processing, viewing and editing software for use with both EOS and EOS R cameras. Images can be imported via Camera Connect and can be edited directly through the iPad® app, from white balance adjustment and fine-tuning of tone curve characteristics to dynamic-range adjustment.

DPP Express RAW image software can display still images using PQ (Perceptual Quantization)4, an HDR format targeting movie production and distribution. The software makes possible the editing and display5 of high-quality images with a wide dynamic range.

Input to output offering

Today Canon strengthens its input to output offering, with a new print software solution. Using the new print software Professional Print & Layout, high-quality images edited using Digital Photo Professional can be printed while maintaining important qualities such as tonality, sharpness and accurate colour reproduction. Included within the software is the new DPRAW print function, which has the ability to process depth map information from DPRAW files, allowing reproduction of sharp details and textures as the photographer intended. This gives a sense of three dimensionality to prints.

Also included is the new HDR print function, which allows highlight areas of an image to be reproduced strongly in print. What’s more, using the Exhibition Lighting Optimisation function, prints can be output to achieve an expanded dynamic range when combined with bright lighting conditions for galleries and exhibitions.



       EOS R camera:                                    9 October 2018

       Control ring mount adapter                   9 October 2018

       RF 24-105mm f/4L IS USM                  9 October 2018

       RF 50mm f/1.2L USM                          End October 2018

       RF 28-70mm f/2L USM                        December 2018                                  

       RF 35mm f/1.8 MACRO IS STM          December 2018

       Standard mount adapter                      9 October 2018

       Drop-in filter mount adapter                  2019

       BG-E22                                                End October 2018

       PD-E1 USB Power Adapter                  TBC


       EF 400mm f/2.8L IS III USM                December 2018

       EF 600mm f/4L IS III USM                   2019

       EF-M 32mm f/1.4 STM                        October 2018


       Digital Photo Professional Express      Available for Download from December 2018

       Professional Print & Layout                  TBC


Pricing to be set at dealer discretion.

Published at Thu, 06 Sep 2018 04:36:08 +0000

Turn moments into memories with the new Nikon D3500

Turn moments into memories with the new Nikon D3500

For those who are new to photography and are seeking to step up their game, Nikon Australia Pty. Ltd. is pleased to announce the released of the new Nikon D3500, an entry-level Nikon DX-format DSLR camera.

“Photography is fast becoming a second nature for many of us as we enjoy taking photos wherever we are, be it in a dinner party or during a holiday. Yet these photos are not just flashes of moments, they also represent memories that we want to preserve in stunning detail and impressive clarity, and this is where the Nikon D3500 comes in.” said James Murray, Managing Director, Nikon Australia Pty. Ltd. “With ease of use and high quality images, users will find this new DSLR a breeze to use and explore their photography with.”

The D3500 has an effective pixel count of 24.2 megapixels and supports a standard sensitivity range of ISO 100–25600. When used with a high-performance NIKKOR lens, it makes the capture of a wide variety of scenes simpler and more enjoyable, with the superior image quality and beautiful bokeh characteristics expected of a digital SLR. This DSLR is constructed with the same slim and lightweight monocoque structure as the Nikon D5600, as well as a deep grip that offers a superior hold on the camera and makes for more comfortable shooting. A new layout for operational controls, including an even larger playback button, and adjustment and concentration of the most important buttons at right on the back of the camera, enables a user-operation that is smooth and intuitive, even for beginners.

Connecting the D3500 to a smart device* is possible using the SnapBridge app and Bluetooth® technology. JPEG thumbnails (2 megapixels) of images captured with the camera can be automatically transferred** to the smart device, and the latest version of the app, SnapBridge Ver. 2.5, can be used to control remote capture of still images from the smart device, even over a Bluetooth® connection.

This camera is an easily adaptable, entry-level model that makes it possible for users to readily capture impressive photos while also simplifying the sharing of favourite photos on social networking sites using a smart device.

Nikon D3500 Primary Features

·       Superior basic performance that supports the beautiful capture of a wide variety of scenes:

Offering an effective pixel count of 24.2 megapixels and equipped with a Nikon DX-format CMOS sensor with no optical low-pass filter, the D3500 is able to capture images that make the most of the superior resolving power of NIKKOR lenses. The camera supports the broad ISO 100–25600 range of standard sensitivities that enables the beautiful capture of dimly lit indoor scenes and night landscapes at high sensitivities with hand-held shooting.

·       A functional design that even beginners will find easy to operate:

The D3500 is constructed with the same slim monocoque structure as the Nikon D5600, in which a completely new design was adopted. Holding on to the camera while shooting and applying settings have been improved with a deep grip and wider spacing for the thumb on the back of the camera. A new layout for operational controls, including an even larger playback button and concentration of the most frequently used buttons at the right side of the camera’s back, makes operation even smoother and more intuitive.

·       Automatic transfer of photos captured with the camera to a smart device for immediate sharing:

A constant connection between the camera and a smart device is possible using the SnapBridge app and Bluetooth® technology. Not only can photos captured with the camera be automatically transferred to a smart device*, but they can also be automatically uploaded to Nikon’s photo sharing service, NIKON IMAGE SPACE***. The SnapBridge app supports a number of other features**** as well, including the ability to attach copyright information and comments to images, and to automatically synchronise camera date/time and location information with that of the smart device.

·       Increased battery performance (life) for worry-free use:

Approximately 1,550 shots***** are possible with a single charge. This allows users to concentrate on capturing as many photos as they wish, without worrying that their battery will be exhausted, at special events or while traveling.

* As from SnapBridge version 2.5, the automatic connection between camera and smart device is “OFF” in default setting. Turn it to “ON” during pairing in order to activate automatic transfer.iPhone®, iPad®, iPod touch®, and Android™ devices to which the SnapBridge app has been installed can be used. The SnapBridge app can be downloaded free of charge from the App Store® and Google Play™. See Nikon’s website for further information.

** Automatic transfer of original JPEG images and movies is not supported. Original JPEG images can be transferred manually over a Bluetooth® connection, but the transfer of RAW images and movies is not supported.

*** There is no limit to the number or size of JPEG thumbnail images (2 megapixels) that can be automatically uploaded from the SnapBridge app. Storage for original JPEG images is limited to 20 GB. A Nikon ID must be registered to take advantage of this feature.

**** The D3500 is not equipped with Wi-Fi capability. Therefore, some SnapBridge features available for use with other Nikon cameras may not be supported, or may function differently when used with the D3500. Remote photography over a Bluetooth® connection is possible using the SnapBridge Ver. 2.5 app.

***** Measured in accordance with CIPA standards; still images captured in single-frame release mode with Bluetooth® disabled.

Published at Tue, 04 Sep 2018 02:17:09 +0000

The 15 Rules of Set Etiquette and What You Should Know About it

The 15 Rules of Set Etiquette and What You Should Know About it

On set etiquette is not just a caprice of directors but the order of rules by which the filming set lives. Everyone in the film world has a role that he or she needs to stand to.

As long as order is followed, the filming process goes just fine. Once someone breaks the natural order of things, comes chaos and misunderstanding that can lead to serious quarrels and even suspension of work.

If you don’t know the order of rules on set, you risk becoming a catalyst that destroys the film production. Unless it’s your goal, here are the basic essential rules of film set etiquette to familiarise yourself with.

Rule #1 – Introductions matter

Once you get chosen as a part of the crew, it’s essential to get acquainted with everyone on set. On your very first day, take time and introduce yourself to anyone and everyone.

Don’t, however, expect that they all will learn your name, yet this is the rule of good manners. The right introduction is the best way to set contact with your crew and ensure that the upcoming working process goes smoothly, friendly, and fun.

set etiquette

Rule #2 – Every day is a new day

Whatever happens outside of the film set is your private life, and it shouldn’t have any influence on your working performance. This is a time-tested and consistent rule of set etiquette.

Every day on set should be dedicated to your work and doing your best. Hangover, painful breakup, relative in the hospital – it all shouldn’t matter while you’re working.

If you feel that you can’t hold it all inside, then it’s better to ask for sick leave and stay at home for a day than destroy the working process.

set etiquette

Rule #3 – Mind your manners & hold your temper

Whatever role you have on set, whether it’s a director or a runner, you need to be polite and accurate with everything you say and do toward your colleagues.

If you’re angry or disappointed, no one should know about it. Count to 10, use an abacus, take deep breaths – whatever helps you to hold the horses will work. Be careful and thoughtful on set.

Rule #4 – Comply with the silence

You know that once the director says “action” no sound can be present on set except for the actors doing their job. And you need to remember this rule!

Yes, smartphones are a huge and important piece of the toolkit for many on set. Yet, you can’t let the unexpected sound interrupt the scene! Turn the phone’s volume off and ensure that even the vibration isn’t heard by the people around you.

Besides the phone, keep a handle on your own noise level in general. The less, the better. Most stars don’t like talkative staff, so don’t get signed into this category.

set etiquette

Rule #5 – Know your place

Film sets are a unified organism where every worker is a vital body organ. You have to remember that no matter what you do, you are important and your work is important.

So there is no need trying to advise a director how to block a scene, or a DP how to highlight a character’s cheeks. Such comments only irritate the recipients and break common understanding inside of the crew.

You know what your part of the job is, so do it. If everyone follows the pattern, the film will be finished in no time!

Rule #6 – Rely on your crew

As a production company, Red Rock Entertainment reviews and participates in many filming processes and has quite an experience in the industry. The experts from this company insist on the importance of relying on each other during the production because completion of the project depends on all the participants.

Of course, this is a matter of initial crew creation, but once you’ve chosen these people, trust them. If you’re a director then you need to lead the process and not stick your nose into everyone’s work with advice (see rule #3)

Rely on the professionalism and competence of the people you’ve chosen and proceed.

set etiquette

Rule #7 – Don’t move anything of which you’re not in charge

Every single object on set has its place. If you don’t know where some prop or item belongs, don’t touch it! The chances are that you’ll move set props and then create an awful goof that will harm the film’s reputation.

Stay in your department and work only with items you know how to handle. If something seems to be in your way, it doesn’t mean it is.

Rule #8 – Pay attention

Paying attention to everything that happens around you is part of the job description for film crew. You need to follow not only what the director says, but also carefully listen to the rest of your crew.

For example, before you plug in the charger for your phone, ensure that this action doesn’t harm the lights on set.

If you’re an assistant, then you need to know what goes where and who loves what. And don’t forget about the changes in the first and bad days in the last list. Your job literally depends on this knowledge!

Rule #9 – Mind what you wear

Even though the film set is not a bank which has strict dress-code conventions, there are still particular rules applied. No one is talking about particular prohibitions, but it’s always better to mind your appearance.

Try to stay comfortable on set because running on heels or fixing the light in a suit are not the best of ideas!

Besides that, be very careful about colours. For instance, bright shirts (such as yellow, white, and even light greys) can affect the lighting of a scene by adding undesired colour shades.

Rule #10 – Be understanding

A Dolly Grip once said that “I understand” is a universal answer on set. Whatever you’re asked about or told to do, “I understand.” is the best answer. (You can get more similar tips in The Production Assistant’s Pocket Handbook.)

Besides the “I understand” answer it’s always beneficial to repeat the question in your answer because this clarifies to the person who asked you that you got the point. For example:

Can you grab the TND9 from the cart when you get a chance?“…


Yup, what?!

This tactic is especially important when you use a walkie-talkie for communication on set.

Rule #11 – Be a ninja

Everyone likes ninjas on sets because these are people who are always in the right place at the right time, who do their job perfectly, and who always remain quiet and unseen when needed.

Being quiet on set means not only stopping any talking when the camera is rolling, but also turning your cell phone off and not asking non-related questions.

set etiquette

Rule #12 – Don’t disappear

While being a ninja, never disappear from set without telling anyone! Regardless of your role in the whole film production process, if you’re there, then you’re essential.

Sometimes the whole filming process is stopped because a make-up artist neglected to tell someone they had leave early or a cleaner didn’t take away the trash can.

Remember that disappearing from your work place is generally bad etiquette in any job. And now keep in mind that you’re working with artists whose mood can be damaged within a split second. Always tell someone close to you when you’re going on a break or using a toilet in order to avoid complications.

Rule #13 – Know the language

Using proper language on set is not just a part of the film set etiquette, but an essential skill for any filmmaker. Gary Collins, the CEO of Red Rock Entertainment, insists that this might be the most important rule on set.

Without the language, you won’t be able to understand a thing your director tells you. Make sure you learn the lingo common for the whole film industry, as well as specific vocabulary present on your set only.

set etiquette

Rule #14 – Learn the rules of your set

And the final point is to know the rules of your particular film set. For instance, some studios don’t start working until the lead actor gets a cup of coffee or a director goes around the set for a quick check.

These are small things that are usually unspoken but which play a huge role in the whole filmmaking process. Be attentive to spotting those “rituals” and ask around if you don’t detect any. But remember to ask like a ninja!

Set Etiquette – The most important rule!

However engaged you are in the film process, however much you love your job, and however strict might be the rule on your particular set, you need to always remember that your life is much more precious than any job and any film made in the world’s history!

Should you feel unsafe or alert at all times, you need to immediately notify someone.

Yes, you might get ridiculed but stay firm on the issue. You never know when your firmness and inner guts can save your own or your colleague’s life!

This article was written by Rachel Wise of Red Rock Entertainment. We hope you’ve found this article on set etiquette helpful.

Any film set etiquette tips that we missed out? Let us know in the comments below.

You Should Try:

Published at Mon, 03 Sep 2018 14:10:55 +0000

“Independence Day” Director Launches Mobile App, Partners with World Leader in 360-Degree Cameras

“Independence Day” Director Launches Mobile App, Partners with World Leader in 360-Degree Cameras

Vresh Invites Content Creators To Join Elite Beta Program For 360-Degree Social Media Platform

“Independence Day” director Roland Emmerich and his partner Marco Weber, announced on Friday a strategic partnership between their company Vrenetic’s 360-degree social app platform Vresh and Insta360, the world leader in 360-degree cameras. Together, the two companies are working to expand the accessibility of 360-degree cameras to a broader range of content creators, to define and catalyze the 360 ecosystem. Insta360 cameras will be co-marketed with Vresh, a social media app for a diverse community of 360 video makers, influencers, world travelers, and other visual storytellers.

Vresh is currently in Beta and the company is accepting applications for early adopters and content creators who are creating 360 media and attracting followers. As a social video app with a 360 video broadcasting feature, anyone can use Vresh to broadcast their full 360-degree surroundings in 4K video to others publicly (“Go Live”), save a 360 video capsule for others to experience on-demand, or conduct a unique and private 360 video call (a first ever technology that is exclusive to Vresh)—all without needing any technical experience. Content creators for example can share a 360-degree view of a mountain top they just hiked, broadcast a far-away wedding for guests to view live in full 360-degree immersive vision, or even go behind the scenes of a concert to record a 360-degree video for fans to watch later.

Vresh will launch in the App Store in Q4 2018, bringing 360-degree video to the forefront as the new format to connect with your friends and family in fully immersive, real time or on demand environments.

“Video revolutionized the Internet and 360-degree content is posed to be the next big category in video,” said Weber, Co-founder and CEO of Vrenetic. “The entire Vresh team is extremely excited and proud to be developing the next Instagram for sharing experiences in fully immersive 360-degree video.”

“The team at Vresh shares our belief that 360-degree video is one of the most exciting and important developments in social media to date,” said Max Richter, Global Marketing Head of Insta360. “That’s why we are so excited to partner with them to make our cameras even more accessible to tomorrow’s content creators and 360-degree video influencers.”

Vrenetic has more than 50 employees based in Los Angeles and Poland.  Vresh will be available worldwide on Android in Q1 2019.

Published at Mon, 03 Sep 2018 07:31:39 +0000