Sony professional mics?

[Craig Irving]

I'm trying to find good microphones to use for an independant film production. I like the idea of using lavalier mics but I am confused by the selection and the differences. Also, I've heard it's best to have a backup shotgun mic just in case the lavs don't work out. Which mics from Sony's collection are good? I can't find many reviews around the internet. I know there are a lot of other great companies to purchase mics from besides Sony, but I can get a good deal on the Sony ones.

I think I am going to purchase the UWPC166 but I'm still looking to read more reviews on it.

[Luke Sabala]

I may be able to help you out Craig email me with any specific questions or post on this and we'll see what we can do!! You ever consider the Sennheiser EW100 G2?

[Steve House]

Originally Posted by Craig Irving

I'm trying to find good microphones to use for an independant film production. I like the idea of using lavalier mics but I am confused by the selection and the differences. Also, I've heard it's best to have a backup shotgun mic just in case the lavs don't work out. Which mics from Sony's collection are good? I can't find many reviews around the internet. I know there are a lot of other great companies to purchase mics from besides Sony, but I can get a good deal on the Sony ones.

I think I am going to purchase the UWPC166 but I'm still looking to read more reviews on it.

Can't comment on the Sony wireless but I'm curious about the notion of a "backup shotgun." And why look to Sony for one when there are other, much better, options from Sennheiser, AudioTechnica, AKG, Schoeps, etc? For dialog recording, in descending order look at hypercardioid on a boom, wired lav, wireless lav. Contrary to popular thought (probably due to virtually every ENG camera having one on it) a shotgun is not general purpose mic IMHO but is actually quite specialized for specifc and limited recording situations. They're on ENG cameras because in the newgathering biz, getting something, anything, recorded is better than nothing at all. But for most other types of filmaking sound quality is more imprtant and there's time to do what it takes to get it right.

[Jarrod Whaley]

I agree with Steve, but I also know that sometimes one's wallet doesn't allow one to have a mic for every situation just yet. Sometimes you have to find as close an approximation to a "catch-all" mic (though this doesn't truly exist) as possible.

Certain short shotguns are slightly less directional than the longer ones, and some of them can be used indoors in many more situations than the longer ones can--though a good hyper is still preferable, you can get by with a short shotgun most of the time until budget allows you to diversify your mic collection.

The Rode NTG-1 / NTG-2 actually works quite well indoors in about 90% of situations, and at under $200, it's more than worth the price. There seems to be less coloration (though still some) of off-axis sounds than with most other shotguns. It's almost somewhere between a shotgun and a hyper. I think it's a pretty decent all-around mic until your budget allows you to buy others for more specialized purposes.

[Luke Sabala]

Originally Posted by Jarrod Whaley

I agree with Steve, but I also know that sometimes one's wallet doesn't allow one to have a mic for every situation just yet. Sometimes you have to find as close an approximation to a "catch-all" mic (though this doesn't truly exist) as possible.

Certain short shotguns are slightly less directional than the longer ones, and some of them can be used indoors in many more situations than the longer ones can--though a good hyper is still preferable, you can get by with a short shotgun most of the time until budget allows you to diversify your mic collection.

The Rode NTG-1 / NTG-2 actually works quite well indoors in about 90% of situations, and at under $200, it's more than worth the price. There seems to be less coloration (though still some) of off-axis sounds than with most other shotguns. It's almost somewhere between a shotgun and a hyper. I think it's a pretty decent all-around mic until your budget allows you to buy others for more specialized purposes.

Jarrod would you be able to maybe take a shotgun mic off of your camera hook it up with an XLR cord and record by just holding the mic where you need the sound? What would you say to that?

[Steve House]

Originally Posted by Luke Sabala

Jarrod would you be able to maybe take a shotgun mic off of your camera hook it up with an XLR cord and record by just holding the mic where you need the sound? What would you say to that?

Because of the shotgun's typical coloration of sound in an acoustically reflective environment such as most interiors other than a soundstage, I'd still suggest a hypercardiod such as an AT4053a in shock mount on a handgrip as a better option. Jarrod steering to towards the Rode mics is also a good option to investigate as they are better behaved in the respect than most typical shotguns would be. But that "voices in the bottom of a well" sound mixed with misc rumbles, thumps, and wheezes you hear far too often is the typical result of a shotgun mounted on the camera shooting indoors. In any case, a shock mount on a pistol handgrip is preferrable to hand-holding the naked mic.

[Jarrod Whaley]

Originally Posted by Luke Sabala

Jarrod would you be able to maybe take a shotgun mic off of your camera hook it up with an XLR cord and record by just holding the mic where you need the sound? What would you say to that?

I'd definitely recommend taking it off the camera, as Steve suggests. Rather than holding it, however, you'll be a lot better off sticking it on a mic stand (with boom) just outside the shot, unless you have someone to operate a boom for you. You can get a cheap but perfectly serviceable mic stand with a boom for $30 from B&H or your local music store.

If you need mobility, Steve's pistol grip idea is a good one. You may still not be able to get perfect placement, but you'll have more flexibility than you would if the mic were camera-mounted.