There are times when we need to be very low key indeed, and when even the top handle on a C100 says 'attention, this person is using a pro camera in public, all staff to misinformed irritant mode'.

So, a little mic on top of the C100 would be nice. Any mic. Anything that can get a bit of Natural Sound - but more quality would be nice. Candidates include

Rode VideoMic (especially the VideoMic Pro)
Sennheiser MKE-400 (teeny-weeny)
Mic-109 (ultra cheap, teeny-weenier)

But here's the beef - just saw this:

VP83 LensHopper Camera-Mount Condenser Microphone (http://www.shure.co.uk/products/microphones/vp83f)

and it's slightly smaller, lighter, non-recording sister. Not out yet, a month or two and it's arrived.

Has anyone used one of these little sticky microphones on a longer lead in a sort of mini-boom or reporter mic situation?

I'm sure they're all fine for getting Natural Sound on GVs and Run & Gun, but it would be great if one can remove it from the hot shoe now and again and have the interviewer waft it under the chin of interviewees for vox pops when we're in a Souk/Fete/Office.

But that Shure LensHopper looks mighty interesting with the built-in 24 bit 48 KHz WAV recording version.

OTOH, the tiniest of Lav mics that will plug into the C100's 3.5mm mount would be sweet - any recommendations?

I can vouch for the Røde Videomic's being great for what they offer for the money from DSLR days, and even still I think the audio is brilliant for what it is.

However that Shure mic sure looks interesting! In my opinion the Shure looks a lot more discrete (even pocketable if you needed to hide/carry it around), in my opinion i'd look at that and the Videomic Pro.

I use the Sennheiser for just what you describe and it is hard to beat for size, cost and ease to power.

I'd do some more research on reviews of the lenshopper. It sounds like a great mic but it is pretty pricey, given the feature list.(though it is priced about right compared to the V.P.) Shure knows microphones. The feature list on the F model sounds like a dream come true for those of us wanting better on camera sound, especially for DSLRs. However, if you can't afford it the lower price model seems to be the same mic and the single battery lasts a long time.

The audio guys on this and other forums likely have some good thoughts. Being able to record to microsd on the mic and the other features sound great. I have not been terribly impressed with the videomic pro. It's better than a camera based mic, but the Lenshopper looks like Shure has taken this market seriously. Not that I'm dissing Rode, they are a great company with great customer service, which I have used in the past. It's just that they have had a free pass in this market for a while as it's been them and Sennheiser.

You can get springy 3.5 cords that go a bit of distance, but putting them on a boom is stretching their distance pretty far, and asking for more interference. I'd probably consider getting a 3.5 to xlr adapter. But you might get away with it. Be sure to have everyone turn off their cell phones during recording if possible, I've had the issues of RF interference from phones that Shure claims they are protecting you against. It's real.Rode does sell a boom for their VP.

LOL re Boom and phones - yes. I was hoping for a dream scenario where you slip off the on-camera mic, attach a bit more cable, and get the interviewer to wave the mic under the interviewee, then we go back to cold shoe mode. It will never be that simple.

Unless we can record at the same time? I'm guessing that if we did, and the camera audio wasn't good enough or got a 'bippedy-bip' of a cell phone getting lonely, we could upload the WAV and let software find the synch point?

I guess it all comes down to the actual testing; getting these little mics out in the field and recording real voices in real situations.

Talking of real situations, I love my 416 but I've been told that its intimidating. I love my Sanken CS1 so long as its out of its wind basket, but told that even that is still intimidating for vox pops. Interviewees like the 'silly woolly thing' - our mics in windsheilds and baskets - even if it pains us to dress up our microphones in fancy dress so to speak. Whereas the standard reporter mics don't draw a second glance. But they have to be close, and the hypercardiods can go a little further away.

I feel there's a great test coming up soon...

I shot this entire piece with the Rode VideoMic Pro VMP Shotgun Microphone on a GH3. I love this mic and trust it.

Sunday In The Park - Panasonic GH3 on Vimeo