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    #11
    Senior Member Yak's Avatar
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    I my experience if you want the "best" then you may want the Sanken CMS-10 (http://www.sanken-mic.com/en/product....cfm/9.1001300) this is a "Switchable very sharp mono-shotgun and stereo mic" I have been using it on documentaries it since 2001 including two 6 week Tibet trips. this is the best shotgun that I am aware of, not cheep but well worth it. It comes with a dual mic cable so in when in Mono mode you can record the output at 2 different leaves one 10 to 20 db lower than the other, when shooting run and gun style this has save more than one shot that was ether too loud or quite. It also records great stereo when switched to that mode. I also use a Sanken CS-1 mono short shotgun on my B camera not as versatile as the CMS-10 but great sound as well.


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    #12
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    Cheers, Yak. At $2500 it is dear indeed, but I'll see what the client says. And this is good for both indoor and outdoor applications?
    "Our arrows will block out the sun!"
    "Fool, we have HMIs!"


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    #13
    Senior Member Yak's Avatar
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    Quote Originally Posted by dtzfilms View Post
    Cheers, Yak. At $2500 it is dear indeed, but I'll see what the client says. And this is good for both indoor and outdoor applications?
    Yes it is great indoors or outdoors and comes with a "Fur softie" wind screen. The Sanken CS-1 mono short shotgun sounds as good but is mono only I use it on my B cam or on a boom, the CS-1 also does not come with the great wind screen that the CMS-10 does http://www.sanken-mic.com/en/product....cfm/8.1001410.


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    #14
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    Nov 2010
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    I have been using an ME66 (Sennheiser) on camera for years. Buy a shock mount that slides into the accessory shoe or otherwise separate the mic from the camera to provide some reduction in system noise. Without tape drives, on-cam mounting is less of an issue, and remember, we are talking run + gun best workable here.

    The ME64 is a bit shorter and would be a better choice in small groups because of its wider pattern. In close-up, crowded situations, a shorter mic will let you move the camera with more freedom (sticks out less), and is less likely to throw a shadow on a subject in uncontrolled lighting. Either choice adapts swiftly to a boom pole when your producer can assist with sound.


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