It seems that doing guest interviews are very popular in my area since all the brides are wanting them. Last year I used a microphone that I was very disappointed with (you could hear a static if the person holding it moved around too much). What brand/model do you use for guest interviews? I want something quick to set up so if I have a couple moments during the reception I can get it out and grab an interview or 2. (I use canon's gl2's and xl's.)

http://www.bhphotovideo.com/bnh/controller/home?O=productlist&A=details&Q=&sku=68197&is=REG&addedTroughType=categoryNavigation

Take a look at this. I have used one of these for years and never had a problem.

Mark

If you're doing interviews in a noisy area....the Sure SM58 handhled mic is really nice and will block out a lot of the background noise. I used this mic in a night club with music cranking, and was able to capture interview audio with no problem of having the background music competing.



It seems that doing guest interviews are very popular in my area since all the brides are wanting them. Last year I used a microphone that I was very disappointed with (you could hear a static if the person holding it moved around too much). What brand/model do you use for guest interviews? I want something quick to set up so if I have a couple moments during the reception I can get it out and grab an interview or 2. (I use canon's gl2's and xl's.)

The standbys are the SM58, Electrovoice RE50 (doubles as a hammer when needed) and the Shure SM63-not quite the amount of noise deflection as the SM58 BUT works great with someone who feels they need to hold the mic somewhere about belt region.

Don

Usually i set up a cam on a tripod across from a table, and print up some instructions and tape that to the table.

I then Blue Tak an infrared remote to the table and use a Senny K6 ME64 mic. I wire this up so they have a visual element and so that my gear doesnt go walkabouts
All this is done in the reception

Basically, the instructions tell them to hit the record button on the remote and when the red light comes on, to start talking into the mic. I havent had audio issues with this, as the mic itself is great for isolation.

Now from here, once were set, i tell the MC about it and get them to read out the instructions. Usually its quite funny, and this method works.

However i am just wondering if this is a common practice?? Am i missing something?? I dont feel that i am, but for some reason it jsut feels that its lacking something.. ?? Maybe the human touch??? the idea of it is to NOT have someone in ur face with a camera, but im thinking now maybe i should get some portable shower curtains or something and create a "video booth"

These video guestbooks are getting more popular by the day... but its wierd.. i cant explain it.. it just feels a little strained and forced??

Any ideas?? What do u do?? What would u do??

I have never seen this technique done in my area (isolated camera with guests controling it themself). Personally, I would be scared to death to leave a camera sitting by itself. I have always walked around and spoke with guests personally asking if they would like to do a message, however it does make me a little uncomfortable because the most common response I get is "maybe after a few more drinks." I can't force anyone to talk, but the bride and groom are paying for these interviews and really want them. If there is an easier way, I'm willing to try it. :)

Jennifer, the best place to set this up is in the hallway outside the main entrance of the reception. This way you can grab people as they are leaving for a quick word to the bride and groom. Most people at the reception are willing to do this on their way out. Also check out the mic I suggested earlier, it's a solid handheld mic for this run and gun situation.
Hope that helps you,
Mark

Now that we have shifted from mic model to technique I will share a nearly foolproof method.

Find a junior reporter. No guest can resist the request of a 9 year old for a few pithy remarks. All she/he needs is a catchy single sentance that can't be answered with yes or no. You might have to pay your talent, but 5 bucks at that age is like gold.

Also, since you can't smoke indoors anymore most of those who dart out for a butt are also a wee bit drunk. These are the classiest interviews. Especially the younger brother of the bride who isn't married yet and drives an import car with an artificially large tailpipe. But I'm not stereotyping.

Part of my sales pitch...

I don't conduct interviews. I hand a wireless microphone to guests and family wherever they may be (wireless is very important to make it easy no matter where you are) and ask them if they would like to say something to you.

Sometimes I'll get just a "congratulations Shawn & Kristin" or sometimes I'll get a funny speach full of well-wishes. The point is that this technique serves very well to "keep it real" on your video and it's always more fun to watch. I show them examples of both and they are always laughing and smiling at the "keep it real" sample. Ofcourse this has a lot to do with the samples I'm showing them - I realize!

The added benefit of the wireless handheld mic has been awesome. I look for opportunities every now and then, on the dance floor, to hand over the mic and get them singing into it. Every once in a while I get a group performance and some awesome video.

You can buy the Azden dual wireless with one body pack and with one wireless handheld microphone. That is what I have (& I bought and extra body pack transmitter too). During the reception I use the body pack for the record out on the DJs mixer and I can switch between the bodypack transmitter or the handheld and the whole time never cut off my on-camera mic.

I look for opportunities every now and then, on the dance floor, to hand over the mic and get them singing into it. Every once in a while I get a group performance and some awesome video.

That is just brilliant. Thanks for the great tip. I am going to have some fun with this....

Peter....cool idea, this could make an interesting "menu" option on the final dvd....sorta like MTV's Real World....when the housemates go into the confessional room, similar style.



Usually i set up a cam on a tripod across from a table, and print up some instructions and tape that to the table.

I then Blue Tak an infrared remote to the table and use a Senny K6 ME64 mic. I wire this up so they have a visual element and so that my gear doesnt go walkabouts
All this is done in the reception

Basically, the instructions tell them to hit the record button on the remote and when the red light comes on, to start talking into the mic. I havent had audio issues with this, as the mic itself is great for isolation.

Now from here, once were set, i tell the MC about it and get them to read out the instructions. Usually its quite funny, and this method works.

However i am just wondering if this is a common practice?? Am i missing something?? I dont feel that i am, but for some reason it jsut feels that its lacking something.. ?? Maybe the human touch??? the idea of it is to NOT have someone in ur face with a camera, but im thinking now maybe i should get some portable shower curtains or something and create a "video booth"

These video guestbooks are getting more popular by the day... but its wierd.. i cant explain it.. it just feels a little strained and forced??

Any ideas?? What do u do?? What would u do??

Yeah Joe, this kinda thing is really picking up down here. Video guestbooks have been a request now for almost 40% of bookings, and i always tell teh client that even though i set it up for a fun frolic on video, sometimes the crowds jsut arent in it.
In that case i just grab a camera and do my usual table runs. From there you can pick up whos responsive and who isnt. From the responsive ones, i usually ask them if theyd like to leave afew words, and 99% of the time they do, but there are the few who are like "after afew more"
Now becuase this "after afew more" is common I turn it into a funny repeated VoxPop. I guess it breaks the monotony of table after table and its funny to see peoples demise as teh alcohol sets in :)

With the Big Bro video booth, the problem with it is that in a concealed curtain, i cant see whats going on with the camera. Out in the open however i just have to glance at it and im OK.

With regard to security, people at weddings are usually far more respectable in regards to property than any other market. Your gear is USUALLY safe, but obviously the Trust NoOne factor always plays in your mind.

I use an Audio-Technica cordless handheld that's really meant for DJ use. It's a good UHF system and does a good job blocking out background noise. If someone jostles the mic and makes rumbly sounds, oh well. I prefer my guest interviews to be a bit on the raw side - I just grab whoever I can find who's willing to do it, and I normally start off with a montage of guests saying things like "are we recording?...what do I say?", then jump around from guest to guest, making it as humorous/entertaining as possible (it's best when the guests have been drinking and have no idea what to say!). Here's my latest example, shot December 30, 2005:

http://mywebpages.comcast.net/jdthedj/greetings.wmv

As it turned out, this was the swan song for the good ol' Sony VX1000, which was a real workhorse. I turned it in to the company I contract most of my work through (it belongs to them), and they're putting it out to pasture, using it only for occasional internal work. All my work from now on will be with the PD150 I got through eBay in January. My first shoot of the year will be March 25 - can't wait!

I use an Audio-Technica cordless handheld that's really meant for DJ use. It's a good UHF system and does a good job blocking out background noise. If someone jostles the mic and makes rumbly sounds, oh well. I prefer my guest interviews to be a bit on the raw side - I just grab whoever I can find who's willing to do it, and I normally start off with a montage of guests saying things like "are we recording?...what do I say?", then jump around from guest to guest, making it as humorous/entertaining as possible (it's best when the guests have been drinking and have no idea what to say!). Here's my latest example, shot December 30, 2005:

http://mywebpages.comcast.net/jdthedj/greetings.wmv

As it turned out, this was the swan song for the good ol' Sony VX1000, which was a real workhorse. I turned it in to the company I contract most of my work through (it belongs to them), and they're putting it out to pasture, using it only for occasional internal work. All my work from now on will be with the PD150 I got through eBay in January. My first shoot of the year will be March 25 - can't wait!

John,

Thanks for posting.

This is just constructive critism - don't shoot me! The camera was way, way, way too far away. There is no need to see peoples legs. If you want your work to look more professional get the camera close and wide for this kind of thing - and use a light! You want to read the expressions on peoples faces.

I thought the editing was very interesting and I think you probably made something that could have been somewhat boring - a lot more interesting to watch. Kudos on that.

Yeah, I should have encoded that at a higher bitrate - trust me, the real version is nice and clear, if a bit on the dark side.

I now have a light - that Sony one with the twin lamps. Bright enough to use in a pitch-dark room, even when using just one lamp.

This will be my third year in the business - I first jumped from DJ to videographer in July '04 (it went something like this: "Do you have a DV camera? Do you have a tripod? Do you know what you're doing? OK, you're a videographer."). I actually used a 1-chip JVC DVL-120U (my $400 wonder) that first year, basically because that was all I had. The VX1000's were in the shop getting overhauled - I used them last year with my trusty Panasonic PV-GS120 as backup. I've gotten my, er, stuff together since then, and I'm expecting good things this year.

I've used the Shure SM58 A LOT doing interviews at nightclubs, right on the dancefloor. During the interview you can't hardly hear yourself talking, but on tape, the dialouge is very clear and separated from the backgrund. But you have to know how to handle a mic, otherwise you're risking to miss some of the dialog.

I've also used a Sennheiser mic, which also worked good, but not as good as the SM58. Can't remember the model though.

A general tip for doing these kind of filming is to always have a handheld mic on one channel, and the built in mic on the other channel.

I've used many a different mic...some good. some bad. some amazing. some disgusting.

If YOU are holding the mic for the person:
- Use a shotgun. The K6/ME66 works well, because it's shotgun, you can frame it out of shot, and it'll be good for crowded places, AS LONG as it's properly directed.

If you arent holding the mic:
-See the mics below. I used to have a t-shirt with a line above the chest and an arrow reading "Mic does not go below this line".... but it's got worn out.

If you arent in a rush
- Use a clip on lav, since it's dressy, you can hide the wire through the coat, but not the best for loud crowded places, or for those who rustle or move alot.

Handheld Mics (ENG)
-Electro Voice RE50 : This is the undenied standard for audio. News crews everywhere use this mic, I've owned mine since it was passed down to me from a very seasoned retiring photog. It had been to Nam' and run over by tanks and Humvees, dropped from moving vehicles, through fire and in 3 Cat. 4+ hurrianes, ...the list goes on. This is the standby everywhere. And truthfully (shamefully), it doubles as a hammer and bludgeon. The older models are silver, the newer ones are black. I own 2, one silver thats over 30 years old (and still working, dented, paint mostly gone), one black that sounds the same as the older, but looks better on camera.

-Electro Voice 635 : The same mic in a different pakage as aboce (RE50), cheaper but less pretty.

-Sennheiser MD46 : This is a newer mic, introduced within the past 2 or so years. At first, news crews were cautionary of letting go of their RE50s' but the longer handle allows for a station flag. It also looks a little better on camera, and it's being used by higher-class crews.

-Shure SM63 : This is my backup, it sounds a little thin, but looks good on camera. I dont see it used as often, but it is used professionally.

-Shure VP64 : A nice mic but not as pretty as the SM63 or MD46. It has a nice bassy, natural for the male voice but bad for wind-issues.

-Shure SM58 : I used this early in the day, but if you ever choose to show your video to any pros, you might get flack for not using a true ENG mic (like the ones above). The cardioid pattern, is too wide for my liking... pics up too much noise, but if the holder doesnt know how to hold a mic, it works.

-SM57 : Much like the 58', the 57 is roughly the same mic, except a little longer without the spherical grill. I only used this when I had to, it has it's place in the performance audio field, on stage and in the studio and even though it's one of the most durable mics' out there, the cardioid pattern of the 57' and 58' is too wide to be used in a crowded room.

The Shure SM57 and SM58 are great mics, but they are too open for a crowded room or anywhere with alot of background noise. I would recommend the use of a handheld shotgun, but manytimes unless you are the one holding the mic in a proper placement for handheld use (upwards towards the speaker at mid chest / stomach level), it can be mis-directed. The RE50 at around $150 is a great mic, and if you stay in the buisness, will be a performer until you get out of the buisness. If you are really restricted, go with the 635A, which also holds the same indestructability of the RE50 in a less-pretty package. I stand by the Electro Voice mics, only seviced twice, once on each mic to replace the internal wiring, a precaution every 2 years, not nessecary.

Note: I'm not bashing the SM57 or SM58, when I do live sound they are my stand-by's, but they arent as good in the ENG field. Only in the right conditions is the 57/58 good. But in a crowded room with alot of background noise the pickup pattern is just too wide. For voiceovers, they are great starters, but for the best audio for the buck? For what I think you want audio wise, the 58/57 just might not be the best tool available in the price range.

What a complete review Daniel. Page 1 of the special event shooters audio buying guide.

I use a near pattern mike on the sennheiser transmitter. Nice and close, cancels out the deejay with all the range of the talent.

I also have the ME66/K6. Have you ever used this in a noisy hall environment? If so, how have the results been? I have not ever experimented with this due to it's long range.