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November 15th, 2005, 12:39 PM | #1 |
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Which Mic?
Hi
I am using a JVC GY-HD100 and will be filming a documentary in a studio setting. I want to purchase the main mic, and would like some advice on which mic to get, it would have to be out of view from above. Many thanks Trevor |
November 15th, 2005, 02:35 PM | #2 |
Fred Retread
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The application you described normally employs mic on a boom and a boom pole operator. Will you have one?
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November 15th, 2005, 04:13 PM | #3 |
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hi
Yes, I will have someone who can do this. Is there a particular mic that you would suggest? Thanks Trevor |
November 15th, 2005, 08:03 PM | #4 | |
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Quote:
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November 15th, 2005, 11:10 PM | #5 |
Fred Retread
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Audio Technica makes excellent, affordable (well, relatively anyway) microphones. As Steve said, a hypercardioid mic is preferred over a shotgun for indoor work. The AT4053a, costing about $400 would be a good choice.
If you need to go economy class, you could do worse than a Rode VideoMic for $150. For attaching to a standard boom pole, do a search on this site. Rode is scheduled to come out with their own more compatable boom pole in December
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November 16th, 2005, 12:05 AM | #6 |
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Just because it's the way my brain works, but when you have the time, could you explain why you want to use a hypercardoid versus a cardoid or a lav?
No hurry on it, just wondering. |
November 16th, 2005, 04:37 AM | #7 |
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Thanks for this, very helpful.
Trevor |
November 16th, 2005, 05:51 AM | #8 | |
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"Hypercardoid" indicates that it is a greatly elongated heart shape, very sensitive towards the front but relatively insensitive to sounds from the sides and rear. Since indoors reflections from the surroundings are often a headache, colouring and distorting the recorded sound, a mic that minimizes them is preferred. A lav is close enough to the speaker that relected sounds are not so much an issue, but sounds reflected from the walls and ceiling around a boom mic that's 3 feet from the speaker's mouth can be a factor. Hypercardoids minimize the problem. Shotguns are also used, especially outdoors, but unlike hypercardoids their off-axis rejection doesn't affect low tones as much as it does high tones. In fact, a shotgun is quite directional to mid and high frequencies but closer to conventional cardoid or even omni at the low end. As a result, indoors the sound reflections aren't reduced so much as they are filtered to the bass end of things, colouring the desired on-axis pickup and making it sound hollow. So the "best practice" is to boom with a shotgun outdoors where reflections aren't a factor and a hypercardoid indoors. If you need to intercut scenes shot indoors with those shot outdoors, one of the problems is to pick shotgun and hypercardoid mics that are reasonably close to each other in overall sound quality so the tonality doesn't change from shot to shot within the same scene. Don't have any hands on experience with it but from what I read the new Schoeps CIMT shotgun mic was designed specifically to match the tonal qualities of their CMC641 hypercardoid for exactly that reason. (And if Santa is listening, I've been a VERY good boy this year!)
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November 16th, 2005, 10:59 AM | #9 |
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LOL @ Steve's last line there.
Thank you very much for that answer, helped me a lot. |
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