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Great Deal: Buy a RØDE On-Camera Mic, Get PluralEyes 3 for Free

11.26.12 @ 12:10AM Tags : , , , ,

As I said in my previous post on the Great Wireless Mic Shootout, great location audio will make your film shine. To ensure a proper sync with any second-system audio however, you need great source audio on an external recorder and from the camera. Luckily for us DSLR shooters there are plenty of options for on-camera mics out there. And if you’re not a fan of all that second-system syncing in post, you’re in luck — now through December 31st, RØDE is packaging PluralEyes 3 — a $200 value — with the purchase of their Stereo VideoMic Pro or their VideoMic Pro. Hit the bump for an informative video from Aahron Rabonowitz of Red Giant/Creative COW fame:

Here’s my take on this whole deal. If you’re filming on your DSLR, the audio you get out of the camera is going to be really bad, with high noise floor and lots of shutter noise if you’re on a Canon. You’ll want to use an on-camera mic to ensure it’s even usable, as well as a second-system running a boom or wireless lav. Syncing those two sources requires tools, and this deal provides those tools. It’s a win-win.

The rebate process, as denoted in this PDF, is simple. Just buy a mic from an authorized dealer like B&H Photo, register for the free ten-year warranty on RØDE’s site, and use the provided serial for your software.

I’ve personally used RØDE mics on just about every DSLR film I’ve made. The VideoMic Pro has always been the bell of the ball, and the regular vanilla VideoMic has also produced outstanding results for me personally. The value for the sound quality is impeccable (as demonstrated online by their Soundbooth Broadcast). I do have to admit I haven’t used the Stereo VideoMic pro, but I wouldn’t hesitate to use it in a heartbeat either, taking into account the polar pattern is a bit wider at cardiod vs supercardiod.

This deal combining RØDE mics with a free copy of PluralEyes 3 is a very smart move for both companies. I’ve used it in Final Cut Pro 7 and Premiere Pro CS6 to outstanding results. The software just saves so much time when using an external recorder.

If you’re pulling the trigger on this deal, there are two things to keep in mind while shopping:

  1. This deal only runs until December 31st
  2. This deal is not for the regular VideoMic

Any of you going to jump on this? Anyone else a fan of PluralEyes/RØDE?

Link: RØDE Microphones — Get a Free Copy of PluralEyes 3


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Description image 27 COMMENTS

  • What?! I just bought the Video Mic Pro two weeks ago! I hope there’s a way of still getting the deal… maybe if I write to them :(

  • Ben thanks for info, great deal, i do alot of music video edits and in past using just on camera internal mic, the syncing from outside noise and inside noise always caused problems. In your opinion should a rode mic solve it , also which of the two mics would you or anyone recommend for doing audio pickups of music videos or just on set. The video shotgun mics looks the best for now.

    • Hey Jay. I have to say that a good on-cam mic from Rode will solve your issue. I would venture for the VideoMic Pro, vs the Stereo VideoMic Pro, because it has a more narrow polar pattern. If you want to sync with what is directly in front of the camera, then that’s the route you want to go.

      For boom mic options, I’m a Sony kind of guy. I typically run that into a Zoon h4n. My previous post covering Dave Dugdale’s Wireless Mic Shootout should give you some good lav options as well.

  • I took advantage of this great deal because I was almost ready to buy PluralEyes, so in a sense I got the mic for free. Iam currently shooting a music video and found several issues when syncing in post. If your miming to a all ready recorded song then why not have a feed directly into the camera from what your playing the music from (i.e. iPhone etc) and a feed to a speaker so the talent can hear what they are miming to. Under these circumstances there is no real need for a mic.

    • ALBERT thanks man , really needed help/tips, someone mentioned somewhat of this method using an iphone, but not in detail, so youre saying basically have the iphone next to the dslr/camera as SOURCE music on the set, then also have maybel music signaled “bluetooth’ etc through speakers for talent to hear. This sounds like it would definitely reslove unstable music because it seems it would make music more consitant, because all music from phone will technically be right next to dslr.

      Dont know if i got it right from what you are saying, but sounds like a great tip and will definitely try to help sync in post with plural .

      • Essentially you want to try whatever you going to use out in advance. iPhone speakers alone won’t be loud enough to play along to, so you need a $3 plug that you can feed the signal out to your speaker. In the past I have used a portable CD player with 2 tracks on loop. First track being a 10 sec countdown, then the second track is your song. Anyway I think your on the right track…

  • I’ve been eyeing up pluraleyes and video mic for a while now, so I’ll be jumping all over this deal!

  • I’ve seen this deal for a while now and just decided to get the stereo videomic pro. It was interesting to me since it was anounced. Rode has awesome soundquality. And at the moment i’m in trouble synching a lot of shortclips to a long external recording. I once used a pluraleyes demo and it was quite nice. So a great deal for timesaving awesome soundquality.

  • This does seem like a genuinely good deal, but it seems confusing to me – surely by buying a mic designed to go on-camera (and into your camera) you’re far less likely to actually need Pluraleyes?

    • Hey Luke. Glad you pointed this out. I agree that you’re going to get outstanding quality on the mic itself, and I know what you mean. But if you have an external recorder going too (which is likely, a separate boom op closer to talent for example) then you’re going to want a solid on-cam mic for waveforms (levels) clear enough for PluralEyes to sync with. I think that’s the spirit of this deal. I’ve shot a great deal on the GH2 for example, and there have been a lot of times I’ve had to manually sync because I didn’t have a good on-cam mic and used the dinky in-cam one.

    • Also useful if you’re running a multi-camera shoot, Luke. I’ve found that often the in-camera audio recorded with my Rode mics is good enough for the type of work I’m shooting, but as Benjamin said, having good levels in camera makes syncing to external audio far easier.

  • Great. I just bought a Sennheisser MKE 400 this week, and all I got was rebate for a free stupid dad cat

  • That is a good deal. Too bad I already own both items!

  • Could this deal be an sign for the release of the video mic hd?

  • Pitabreader on 11.26.12 @ 3:36PM

    Does it have anything to do with the appearance of competing WooWave Sync Pro? :) No, it would be too obvious :)

  • I’m in! Big incentive. I’ve always intended to procure the Røde Stereo VideoMic Pro and Plural Eyes but there was nothing to nudge the purchase. Too many times I wanted stereo instead of a mono on-cam mic, e.g., live music or presentations where a shotgun mic is too directional and lacks width, whereas two Røde NT3s or the NT4 is way too cumbersome and heavy. Good move, Røde!

  • Interesting. What’s the difference between PluralEyes 3 and the audio syncing in FCPX? From watching the demo, it looks like I could just dump all my video and all my audio into the program and it will sync it automatically. In FCPX I’ve had to do it by selecting the audio and matching video clip and then syncing one by one which then creates a new compound clip that doesn’t have and of the analyzation results from FCPX import.

    I really hate syncing and if this will make my life easier I’ll totally get the mic.

    • Hey Julian. If you’ve never used Plural Eyes, I highly recommend downloading a demo and trying it out. The program essentially uses the waveforms and does a comparison to videos in a sequence. It then merges the clips so they’re all buttoned up and ready to go for editing. A real time saver, and a must-have for DSLR filmmaking.

      • Thanks Benjamin. I’m going to try the demo out as soon as I have some time to do some testing (finals at school and none of my projects have any audio that needs to be synced, all post production audio). But if this can match the audio and video files automatically it’s and easy buy.

        I have a question about the workflow and this is what will really sell it for me. Right now when I do this in FCPX it will create a new compound clip and I will lose all my “look for people” results. When PluralEyes does its thing, what is the final file output? How does it get to FCPX and what will that file look like in there? I really hate the way my synchronized clips end up in FCPX.

        • Hmm, I’m not entirely sure about that one Julian. I am really not much of a FCPX kinda guy, I’m still editing in FCP7. I know in FCP7 and Premiere it creates a new sequence with all the clips in order. So you can drag and drop into bins as you like. Small price to pay for all that tedious merging from in-points. Hopefully it’s comparably easy for FCPX.

  • Just purchased from amazon for even less, so this has been a real bargain!

  • Gary Simmons on 11.29.12 @ 3:20PM

    Rats just spent my xmas money on other equipment now I gotta hustle and see if I can scrape up enough to get in on this deal.

  • This Rode Video Mic Pro is a very poorly built mic. OK in a studio setting but hopeless in the field.
    This is what happened to me over the course of a 5 day assignment on rural Burkina Faso West Africa earlier this year, travelling off-road and getting in and out of 4×4 cars:
    - the mic mounted on the camera would fall off one or all of its rubber mounts at the slightest provocation. In the car with mic on the camera’s hot-shoe and the camera on my knee the mic could fall off one of its rubber band mounts if we went over a bump. Every time I raised the camera to use it I had to check every rubber mount and nearly always one or two had fallen off. I was also using the Rode dead cat designed for this mic, and the fur from the dead cat would get tangled in the front mount rubbers. In pressured circumstances this is one extra thing you should not have to worry about.

    I was following a villager in a forest environment when a twig caught the mic, pulling the mic off out of it’s mount completely and one of the mic’s support rubbers was lost on the forest floor. As I did not have the spare rubber supports on my person this rendered the mic useless for the rest of the day. When I got back to the hotel I was able to replace the missing rubber with one of the spares, and then I discovered that there are two kinds – a left pair and a right pair. Who designed this mic support system?? I started putting the mic in my camera vest when not in actual use, but it fell off its mounts in my pocket too.

    This mic support system needs a complete re-design. I’ve since bought the Sennheiser MKE 400 which has performed flawlessly in similar circumstances on a three week shoot in Cameroon. The anti-shock design is robust and effective and the MKE 400 did not fall apart once!