Hello,

I hate to start another 'which one do I choose' thread but after having two and a half years of ruined video in windy conditions with Rode NTG2 - the last straw came Saturday - I must get something at least marginally better for my next very important run-and-gun ENG shot in a hilly - and hostile - landscape.

I have tried everything to correct the choppy audio problem with NTG2 from dead cats to Rycote softies to taping over the recessed high pass switch as recommended here (http://www.dvinfo.net/conf/913130-post31.html) but never got anything fit to broadcast even if it is only a breeze.

A blimp is out of question for the reasons of weight and size and I do not need a crystal-clear audio, just something one could use for news reports. All other characteristics are not as important.

Which brings me to my question - is there anything better in windy conditions for a budget of up to $300, preferably with the same diameter for my softie? A few reviewers say AT 897 does a fairly good job. Or maybe Beyerdynamics MCE 86?

Thank you.

Well nothing will work better than a blimp.... but have you thought about a Rode WS6 for that NTG-2? (I think it's the 6 that's the correct length as I have a longer NTG-3 and a WS7...and it's really a very, very good combo for most tasks). Sure, my Rycote blimp is better (I have the S system, 330, for the NTG-3) as it has a envelope of still air around the mic and a better suspension system of course.... but for the run-and-gun/ENG type mobility you need a WS6 might be a low cost solution. It may or may not be better than the softies you currently have/tried on the NTG-2 - I really don't know but for sure it won't cost you anywhere near $300.

I'm sure the real audio/mic experts will wade in with other suggestions. Good luck!

If you do not use a blimp with the furry cover your have two more options... A furry cover over the thick foam or don't use your mic in wind. There is no mic on the market thatwill work in high wiind. Only a blimp and A good long furry cover (Rycote or Sennheiser) will work. I have used my Rycote on a windy deck of a state ferry with zero wiind noise.

Some of the news crews use this Softie: http://www.rycote.com/products/families/softies/

You could insert a more aggressive high pass filter after the mic and before the A/D converter, but this will make voices sound thin, and won't help at all if your mic is overloading.

You could try an SM57/SM58 with a high pass filter, but then you risk having a very low signal, too wide a pattern, and tons of preamp hiss. As long as you don't overload the recording, you can do additional filtering of the lows in post. If the mic can be handheld in windy conditions, you could get away with a dynamic mic.

A Lightwave Equaliser might be the answer.

Its like a mini-blimp, a basket with a permanent shaggy cover and still has the a dead-air space. I have used one with the NTG-1 and it was the difference between audible speech and just wind noise. I ordered another one the very next day for my other mic.

They come from rycote now. I think mine was about £70 uk a quick google shows them at them at B&H around $120 depending on size.

I just checked the page at B&H and it says that model is discontinued but if there are any around it would be worth checking.

I agree with Andy, get the RODE WS6, next best thing to the Blimp.

RØDE Microphones - WS6 Deluxe Windshield (http://aus.rodemic.com/accessory.php?product=WS6)

I've seen their dealer presentation with a 12" oscillating fan on FULL blast about 1' in front of the (it was a WS7, same thing) NTG-3 and you could hardly hear any wind. Very impressive.

Another tip: with a shotgun mic, if at all possible try and work side on to the direction the wind is coming from.

Cheers.

Hello,

I hate to start another 'which one do I choose' thread but after having two and a half years of ruined video in windy conditions with Rode NTG2 - the last straw came Saturday - I must get something at least marginally better for my next very important run-and-gun ENG shot in a hilly - and hostile - landscape.

I have tried everything to correct the choppy audio problem with NTG2 from dead cats to Rycote softies to taping over the recessed high pass switch as recommended here (http://www.dvinfo.net/conf/913130-post31.html) but never got anything fit to broadcast even if it is only a breeze.

A blimp is out of question for the reasons of weight and size and I do not need a crystal-clear audio, just something one could use for news reports. All other characteristics are not as important.

Which brings me to my question - is there anything better in windy conditions for a budget of up to $300, preferably with the same diameter for my softie? A few reviewers say AT 897 does a fairly good job. Or maybe Beyerdynamics MCE 86?

Thank you.

You just can't fool Mother Nature - microphones MUST have something to create a dead zone of still air around them - letting moving air strike the ports will produce noise and switching to a different mic isn't likely to change that.

I'm guessing that the reason a blimp is out of the question because of its "weight and size" is that you're using the mic on the camera. You also say you're shooting news reports. Are you shooting standups where you're trying to record a presenter speaking on-camera at the location using the camera-mounted shotgun? If so, one factor in your problem is going to be the distance from the mic to the speaker is likely to be too big. Shotguns works best at about 30 inches from the talent - much farther and the level of the presenter and the level of the surrounding ambience, including wind, get too close to each other - to try to hear the faint presenter, you boost gain but that just makes the slightest breeze sound like a hurricane. If this is what you're shooting, have you considered giving your talent a hard-wired hand-held dynamic stick mic? By getting the mic within 6 inches or so of the speaker's mouth you can minimize the effects of wind at the location.

Thank you for all suggestions. As a matter of fact, the last shot was with the NTG2 stuck almost into the face of the talent - as always, fitted with the Rycote softie that, I presume, has enough dead air. Unusable audio.

I do have other mics and use them when I can - for standups and most interviews. But as I have mentioned, I will now need something for run and gun in a windy and hostile (literally) terrain, meaning no time to fiddle with cables. Size and weight do matter, too. Softie is about the largest thing I can afford to have.

As people have pointed out, Rycote softies are widely used by news crews so I would appreciate more arguments on why similar products such as Rode WS6 or Lightwave Equaliser are better as opposed to a better mic.

Which brings me back to my original question - which mic, if any at that price point, is better for windy conditions, not which conditions are better for NTG2 (no, as you might have guessed, the option 'don't use your mic in wind' is not available).

There are no mics better than others in the wind.

You have to put a RODE WS6 on your NTG-2 .. or forget recording outdoors when the wind is blowing.

Cheers.

For a rugged environment, nothing beats a dynamic mic. There's a reason that rock and roll and punk bands use them on stage.

I'd get one with a hypercardioid pattern, like the Beyerdynamic M 59. Interviewing microphones (http://www.beyerdynamic-usa.com/en/broadcast-studio-video-production/products/microphones/interviewing-microphones.html?tx_sbproductdatabase_pi1)

There are cheaper alternatives from Audix and other brands.

What you want to look for is a response pattern that rejects off axis low frequencies. (Rejection of highs is a given).

Unfortunately, dynamic mics don't generally include low-cut filter switches. I'd use a Shure - A15HP In-Line High Pass Filter (http://store.shure.com/store/shure/en_US/pd/productID.104210700)

Unless your talent is nearly eating the mic, levels will be low. You'll want a very clean preamp with lots of gain and a clean rugged recorder.

As many have mentioned, the first line of defense is the physical windscreen. The key features you need in a mic are good off axis rejection and a high dynamic range. You don't want the wind that gets through the screen to overload the mic and make it clip. Next, you kill the low frequencies before the signal hits the preamp and A/D. The Shure A15HP is only -12dB/octave at 100 Hz. If you could find something with -18 or -24 dB/octave as high as 200 Hz, it would be even better.

After that, you need to record with levels that are low enough not to clip during gusts. As such, you want as clean a pre-amp and A/D as you can get, and you'll want 24 bits. In really bad conditions, you might need to filter even more in post (up to 300 Hz), and you might need to boost the signal quite a bit.

After all that, the only remaining option is more windscreen.

Thank you for all suggestions. As a matter of fact, the last shot was with the NTG2 stuck almost into the face of the talent - as always, fitted with the Rycote softie that, I presume, has enough dead air. Unusable audio.

...
Which brings me back to my original question - which mic, if any at that price point, is better for windy conditions, not which conditions are better for NTG2 (no, as you might have guessed, the option 'don't use your mic in wind' is not available).

As Allan said, if you're committed to a directional mic mounted on the camera, there's not going to be a lot of difference in the wind sensitivity of any short shotgun you might choose. Changing the Rode out for a different 'gun probably isn't going to be the answer. An alternate mic you might try is the Sanken CS3 - since it doesn't use the interference tube principle it might be a little better in your application than other alternatives to the Rode - but it's well above the Rode's price point. (Rent for the experiment rather than buy in case it doesn't work out.) You just can't get around the laws of physics - to get better wind isolation than the Softie's fur, you need to enclose the mic in a blimp that traps a layer of still air inside to surround the mic. To get better than that, you enclose the blimp in an outer furry layer. Maybe you can rethink the mount to move the mic a bit further away from the camera body to make room for something like a Rycote S-Series.

Thinking further, is putting a wireless lav on your presenter out of the question?

Hello,

............., just something one could use for news reports. All other characteristics are not as important.
Thank you.

For news reports, as soon as the mic is hold by the journalist, an OMNI DYNAMIC is the best choice. No wind problem, no rain problem, no blimp needed, no boom man needed...

Cost you less than 200. And you get professional result.

Products to considered: Shure SM63 or VP64 EV 635, AT8004, Superlux PRA318

Any directional microphone will be useless in windy condition without sufficient wind protection. Even with excellent protection, Omni dynamic is still the king in outdoor interview or news covering.

In case you need something that is smaller, try an omni lavalier. It is still much better than any shotgun.

My first suggestion, from experience is to use the Rode Blimp (AUD$250). Seeing as this is impossible... then try the setup I use for the onboard mic on my DSR-570.

A factory foam sock, with a deadrat on the top. You could use anything from Rode or Rycote, but I have found this reduces wind noise by around 24db (wind was 25 knots, mic pointing directly into it).

The only serious way to reduce wind noise without altering the sound is to have no moving air next to the mic - any mic. In order of effectiveness is the foam sock, then the deadrat, then the deadrat WITH foam sock, A blimp, and for the ultimate, a blimp inside a dead wombat.

For handheld, the best option would be to have the talent hold the mic in their windshadow, with the mic protected by a foam sock inside a deadrat. For radio, it's be a lavalier carefully placed under the chin - with the talents back to the wind.

HTH

Ben

I have rode kat dead on camera, has not functioned well. Now I RØDE microphones - WS6 Deluxe windshield is ok,worth the investment if you want to sound good when you beat the wind.

Only good Marius

Hello,
...tried everything to correct the choppy audio problem
I do not need a crystal-clear audio...

A blimp is out of question...


So, you may or may not want good sound in windy conditions, and you're not willing to consider the tried and true solution that every sound guy ever would tell you to use.

Good luck with that.

Directional microphone, including shotgun, is based on pressure gradient, that is the pressure difference between the front and the back of the diaphragm. All directional mic have to "OPEN" their back, thus there is no constant pressure in the back of the diaphragm to provide additional air cushion for very low frequency = wind. All the wind disturbance and harmonics thus become apparent. That is why these microphones need wind protection and vibration suspension.

Omni microphone got a "CLOSE" back, and works on pure pressure. Thus it doesn't react that much with very "DC" like signal - wind. It is like a capacitor that block DC, only AC signal can pass. Wind = DC, speech = AC.

How OMNI beats shotgun at close up? When you put OMNI at the edge of the speaker's mouth, the diaphragm is about that distant. For a shotgun, you have to add the interference tube section, so that to reach the diaphragm. Consider the sound source distance, the signal stregth is by: 20*log(5 cm/ 25 cm), eqaul to 14dB.

So, first you get 14dB more to the wind SPL, and second you got lower sensitivity to wind. That says, OMNI wins in windy condition at close-up.

I will use a $60 Superlux PRA318, not $2000 Shcoeps CMIT5 (with blimp) in windy outdoor, and close up condition.

"Edit 1:
By the way, if you want to try how a microphone react with wind, just blow into the mic and listen with your cans. Becareful, don't blow into ribbon microphone. These pure pressure gradient, and free suspended diaphgram will produce no wind sound after you blow it hard, and no other sound since after."

"Edit 2:
Don't be fool by the polar pattern of the mic, it indicate the sound pick-up of various frequency. In case no frequency was indicated, it shall be 1KHz. This pattern has no relationship with wind noise. In case your major noise is wind instead of other surrounding, closed back microphone perform much better than open back microphone. Or pressure microphone is much bettern than pressure-gradient microphone. Direction is not an issue, but wind noise is the most important factor. To reject the surrounding noise with omni, is by different distance. Get the microphone to the sound source, increase the distance ratio from the noise. You'll get clean pick-up with omni."

"Edit 3:
Just check ebay, there're Shure VP64 at very good price. Try it yourself, compare an omni dynamic and a shotgun outdoor with high wind."

"Edit 4:
A theory proven wrong in the real world is no more theory, but a joke."

Well, you know, there's theory and there's the real world. Now there's even more stuff to fix in post ;-)

True, there's theory and there's the real world.

For all the theory on how to protect the mic from the wind and what to use, a simple practical test proved to me what I have started with - it is the NTG-2 (at least the one that I bought at B&H) that seems to be crappy in a strong wind, not my way of using it.

I took an ECM-670 off an old BetaSP camera, put on the same softie and recreated the exact conditions for the windy shot that finally made me part with the NTG-2. Obviously, there was some rumble when exposed to a really, really strong wind but other than that, the talent voice was clear and did not need much cleaning in post. At least the sound was not choppy.

Which proved to me that not all shotguns - even in approximately the same price bracket - are made equal. Now I am sure I will not be investing in additional blimps, windjammers and other things I will not be able to carry around but into a new mic.

Which is where I started this tread from.

Which proved to me that not all shotguns - even in approximately the same price bracket - are made equal.

Let us know how you go with your new mic.

I have a few shotgun mics (AKG, Rode, Audio-Technica) but I can't say I've tried them under identical wind to see how they compare (mostly due to the fact I have only one blimp).

I did notice that my NTG-2 lets wind in "round the back" - even with a Rycote softie on it. Wind gets in round the XLR connection, and also around the attenuator switch. You can wrap it with small pieces of foam and duct tape to help slightly.

Of course, a Rode Blimp worked wonders... but as a solo shooter, it's just too bulky for me to cart around with me.

I was always told "the better the mic - the more it will pick up" - so I suppose that does not mean the more it will cut down on sound received - caused by movement of air...

It sounds to me like one of those situations where you have to work it rather than hpe to buy a way out of a problem.

Are you recording dialogue? How close is your subject?
One mic that immediately comes to mind is the Sennheiser MD46 (http://www.dvcreators.net/sennheiser-md46-handheld-interview-microphone/). It's a cardioid with a double basket grille for taking a bit of wind. It was developed to have a bit more reach than a standard dynamic handheld mic, and to be used in windy situations. The sound is pretty amazing too. Listen to this interview I shot a few years back with Jerry Hoffman DV eStore Theatre - NAB Hoffman (http://www.dvcreators.net/products/nab_jhoffman_movieframe.htm) - and the mic is wireless on a Sennheiser SKP100 plug on transmitter, the one included in the Sennheiser EVolution G2 ENG kit.

- and the mic is wireless on a Sennheiser SKP100 plug on transmitter, the one included in the Sennheiser EVolution G2 ENG kit.

And on the ew 100 ENG G3 kit.

If I'm after a mic that can solve these problems, the last thing I would be doing is to restrict myself to some small budget. I mean ... you want to have an ugly show-stopper problem solved, right? (And for something where you earn your income and reputation????) There's been a few posts like this on the forums where I tend to really wonder at the mindset of some people.

In the meantime, you will be pleased to know that all Rode mics come with a 10 year guarantee. So if the mic really isn't working properly you can always take it back.

Andrew

Hi all,

I have a Rode NTG-2 and Sony FX-7 camera so I thought I might ask my question here. I have read all the discussions in this thread before posting this message. Recently I recorded Dove hunting down near Santa Barbara Ca. I find I have a lot of low rumble wind noise reviewing the footage. If I filter out 1000HZ and lower in post this cut all noise but loses dynamics. I am using both the foam windshield and the Rode Deadcat windscreen. The wind is light 3MPH or less. Before discussing alturnatives I would like to discover why I am getting so much noise with this combination. I have found that with this combination it is better to record lower and increase the volume in post. This could be part of the problem and I did not monitor with earphones which could have helped. I did monitor the levels, however. Could I be using my equipment incorrectly since I am fairly new to this equipment? I just slide on the Foam first and then the Deadcat over that. How heavy is a Blimp and can I use it as an on camera unit.
Has anyone tried building the Blimp unit shown in one of the video maker issues?

Thanks for your thoughts,

John Gerard

John, probably need to start a new thread with this one.

Sounds like that Dove hunting was way in the distance, so you got noise trying to get some level.

The next level of wind protection for the NTG-2 is the Rode WS-6 which is very good, but my guess is it wouldn't have been the total answer in this case.

RØDE Microphones - WS6 Deluxe Windshield (http://aus.rodemic.com/accessory.php?product=WS6)

Top level is the Blimp, it's not that heavy, you need an other person to run it properly.

But the real answer to this particular problem is, you've got to get closer to the source.

Cheers.

I'll second the fact that the NTG-2 has serious issues in light winds if not totally enclosed. I could breath hard, for want of a better test, on both the high-pass switch, and on the mic's XLR connection, and hear it very loudly. Somehow, which baffles me, if didn't help to tape it up. So anything like a softie, which is a great product, failed for me.

The Rycote S-330 on the other hand, worked wonderfully.

Alchemy In Nowhere Town on Vimeo (http://vimeo.com/3464375)

I didn't have an anemometer on me, but can tell you I was dashed chilly. The guy on screen, Byron Vincent (real name, folks), was...well verging on hypothermic by the end of things.

I should add that the audio is all from the singular wider-angle take (chap's a pro, only needed another take to get the closer-in stuff), so the mic is about, oh, 3 or 4 feet away, into the Tascam HD-P2.

Also, I'd second the idea of trying the lav- not to sound like a fanboy, but the Rycote lav furries are outstanding on my DPA 4061 mic.

Hi,

I tried posting this note before but I don't see it here so I will try again.
I thought I might try posting my message here since I have the same Mic and a simular problem. I have the Sony FX-7 camera and Rode NTG-2 Mic. I took some video (Dove Hunting) a few weeks ago and reviewing the footage I hear a low rumble in the 1000hz and below. I can filter out this range but then I loose all the dynamics of the gun fire. I am using both the Foam windscreen and then the Rode Deadcat Windshield over the foam windscreen. The wind could not have been more that a few MPH. I thought that I would not hear any wind noise at all.
I have read all the replies here. I wondered if I am not understanding something. I know that I should have monitored the sound by using earphones and not relying on the meter along. I find in general that I need to keep the volume no more than 50% to get good sound and then up the volume in post. So, this could be part of my problem. I wondered if I should invest in a blimp? I prefer to use my mic on camera so can I use the suggested blimp on camera? Also, has anyone tried to construct the Blimp that was in one of the videomaker magazine issues?

Thanks,

John Gerard

Wind noise can be coming in through the XLR connection at the base of the mic or maybe even through the low-cut switch. If you're not going to use a blimp in a windy situation, at least wrap them both with gaffer's tape for peace of mind. YouTube - Reducing Wind Noise (http://www.youtube.com/watch?v=tlgx5wmJNbg)

Hi all,
First I did not realize there was a second page so I posted two notes. My bad. A Blimp is not out of the question if I can use it on camera. As a test I might try making the blimp described in the Videomaker mag. to see if it would work on camera. If I am using a tripod I can stick the mic on a pole near by but this setup does not work for me if I want to hand hold my camera.
;Just to through this idea out, couldn't I make up a longer Dead cat like item that would cover all the way down to the XLR connector. Would this work? What do you guys think.

John Gerard

Wow, thanks Guy.
I was thinking that my Rode was faulty. Can't believe that so much noise gets in the back XLR and the switch,

Cheers

Guy,

Thanks for the link to the video on reducing wind noise. That was so worthwhile.

On a side note, I got seriously sidetracked with the rest of the juiced videos. Love the bit at the end where he does his 'call to action'. Closest thing to reminding me of Ferris Bueller (http://en.wikipedia.org/wiki/Ferris_Bueller%27s_Day_Off) in a very long time.

Andrew

Hi all,

I just made a home made Blimp and I used Grizzly bear type Faux Fur. I did not Know what type to use. In a while I will post some pics of my design. I am using it on camera with my NTG-2, which is the model with the Battery compartment so it is pretty long. It appears to work well mounted on the FX7 camera no problems there. I am still testing to see how much wind noise it cut out. My blimp feels really light, I used the extra rubber bands from my Rode shock mount that I bought as a kit at B&H. I Zip tied them in an "X" pattern which is similar to the design of the Rode shock mount.

My question is what type of Faux Fur should I try next? I took video of the Blue Angles during FleetWeek San Francisco over last weekend. It was pretty windy, 9-20MPH most of the time. It is hard to tell if the Grizzly Faux Fur cut all the wind without more review of the video. I took some test video when the planes were not flying. I think the Grizzly Fur cut a little too much of the all around sound. Not just the wind noise. But, I think I am on the wright track I just need to keep trying other options.

;Just a quick note on the FX7. I used the Heavy Steady Cam mode on a tripod that I used as a mono pod by extending only one leg. The video was filmed from the top deck of my brothers 53 foot power boat in port at the dock. The video turned out great. I think better than what the local news showed.

P.S. This time I did remember to monitor the sound using Bose head phones. This I am pretty sure is what happened before. The Bose headphones are great but they don't block the wind noise so it is a little hard to tell what is wind noise from the Mic when monitoring. Other sounds from the Mic pick up well in the headphones. These are the model that do not perform noise canceling.


Thanks,

John Gerard

I just watched the Wind noise test video from Juicedlink and that really is informative. Thanks Guy for posting the link.

John Gerard

Hello,

I hate to start another 'which one do I choose' thread but after having two and a half years of ruined video in windy conditions with Rode NTG2 - the last straw came Saturday - I must get something at least marginally better for my next very important run-and-gun ENG shot in a hilly - and hostile - landscape.
All mics suffer from wind noise generated in every joint, switch or connection point. If a blimp is out of the question, you must tape or cover every problem area. See my post here. http://www.dvinfo.net/forum/sony-xdcam-ex-cinealta/465207-shotgun-mic-ex1-2.html Bottom of page

I just did a test on my NTG2 about a metre in front of a 400mm fan on full speed.
I started with just the mic - noise wind terrible.
I added the sponge cover that came with the NTG2 - wind noise much the same.
Put on my el cheapo (but good quality) Indian blimp without furrie - noise cut quite significantly.
Put on furrie that came with the blimp - wind noise totally removed.

Switching mic from straight into wind to side on to wind, changed the noise level.

Cheap Indian blimp - good buy...

Had some time to play around with the NTG-2 on XH-A1. Taping all the problematic areas as suggested never reduced the wind noise to an acceptable level.

It turned out that the noise is generated at the point where the mic touches the mic holder. I don't know if a shockmount would resolve the problem because I do not care. For my work I simply cannot carry with me a boxload of blimps, shockmounts or other gear, especially when for other mics you do not need those.

Which brings me to another conclusion. Not only not all mics are created equal for the wind as I said earlier, but that NTG-2 is plainly useless on XH-A1 in the strong wind. Other mics aren't.

Vykintas,

Seriously. Bite the bullet and do the job properly with the proper gear (only one blimp required). Charge extra for an additional person to do the sound if you need to. Educate your client while you are at it.

Andrew

Had some time to play around with the NTG-2 on XH-A1. Taping all the problematic areas as suggested never reduced the wind noise to an acceptable level.

It turned out that the noise is generated at the point where the mic touches the mic holder. I don't know if a shockmount would resolve the problem because I do not care. For my work I simply cannot carry with me a boxload of blimps, shockmounts or other gear, especially when for other mics you do not need those.

Which brings me to another conclusion. Not only not all mics are created equal for the wind as I said earlier, but that NTG-2 is plainly useless on XH-A1 in the strong wind. Other mics aren't.

Why do you say that with other mics you do not need shockmounts, blimps, etc? I have a Schoeps CMC641 that absolutely requires a shockmount to prevent pickup of handling noise and even indoors it needs the foam wind shield to avoid rumble from air movement. Outdoors without wind protection .... no way. No one is going to say that it is a bad microphone because of it needs to be used with those other pieces of gear in order for it to perform up to its full ability.

If you know of some magical microphone that can give good results on speech from the camera position that does not require a shockmount and does not require full wind protection under high wind conditions, how about sharing its name with us? You've been stubbornly struggling to get acceptable results with the Rode for over 6 months now - why haven't you traded it in on that wonder mic yet? Could it be because such a thing doesn't exist?

You don't need a box-load of mounts, blimps, etc You have one camera and one mic, all you need is one mount, one light-duty wind protection to handle the air movement of panning, etc, indoors or outdoors when there's no signifigant wind, and one full wind kit for heavy duty use under heavier wind conditions, to fit that one mic. That's hardly a box full and careful choices of gear with common combonents let those pieces do double and triple duty. One carefully chosen kit is all you need. Rycote makes an adapter that allows you to use their outstanding Invision lyre series of shockmounts (which will fit a wide variety of different mics, by the way, so even if you have a whole box of mics you probably only need one mount for all of them) on your camera. Look at their Universal Camera kit for starters.

I still don't understand why you are so adamantly opposed to using the same solutions that news and doco crews working all over the planet under the harshest of conditions use to bring home acceptable footage. The principle for success is simple - get the right tools for the job at hand without compromising and use them properly without taking shortcuts.

Hmmm, what does the original poster mean by "wind", perhaps he means that the NTG2 isn't good at recording fart sounds? Perhaps rode mics arent tested under his severe "wind" conditions.... hahaha omg sorry i couldn't resist that....i know its in poor taste, but his responses were giving me wind.... oh i must stop.....hehehe.... forgive me

Alright, looks like I need to disclose what I mean by strong wind.

I sometimes travel to Afghanistan for the news work - as a one man band (i. e. I am a reporter doing cameraperson's work as well).

The wind you get there is not farting. Unless, Sherif, you fart yourself there (or worse).

Andrew, I guess you would now understand that not all people use their XH-A1 for shooting weddings. Extra person would simply not fit into the humwee. And the "client" of those who you are accompanying and who might be about to shoot at you (not with the camera) would hardly be educated to wait until you all jump in there.

When you have to carry the things that you have to carry on your back there, you always think twice before taking even a small additional piece of kit.

The shockmount - or any other parts sticking out this much - would probably last the first couple of days before being broken off by the inevitable rough handling. This is also why the blimp is also out of question. In the conditions where your humwee suddenly hits three feet of dust on the ground and you cannot see your outstretched hand you would not want to loose an additional second by fighting to tuck your gear away into a bag.

Steve, I mentioned the ECM-670. No problems in the same conditions.

That's also a reply to Allan's post (#9). Thank you very much for telling me to forget recording outdoors when the wind is blowing.

As a serious conclusion though, the forum in the end was useless in answering my original question (which I think I formulated quite clearly). I had to find the answer myself. But thank you to all who tried to help me.

Ahh. Well now we know a little more about your requirements and working conditions. This makes a difference.

I'm curious .... would you consider carrying a can of compressed air for a quick de-dusting of the lens before shooting? Or would that sort of thing take too long, given your working timeframe to get the shot done?

Andrew

Compressed air can is an extra. If I take it along, I leave it in the car or at the camp. I wipe off the lens with a cloth while on the go and use compressed air to clean the entire body of the camera when I have more time. Trouble is, the can usually does not last too long and taking a second one for longer patrols/operations/assignments would be a burden. In terms of space-to-efficiency ratio, nothing beats wet napkins.

Keep an eye on your cans of compressed air, lest they be viewed as "portable air-conditioning" in the heat of summer.

On a side note, a CO2 fire extinguisher and its nozzle is very handy for instantly cooling down a can of drink.

Andrew