MKH 70 in busy location
- Thread starter mumin
- Start date
I don't see why not. Its more directional and as such has more "reach", so be aware of that. Maybe not the best choice if have to boom multiple people who a decent distance from each other if they don't plan on getting any coverage that is. In fact if you are working an exterior its actually a great choice I think, especially if there a little more ambient noise than what is disirable.
I work on a show in which we utilize the 70 to pickup the quite kid dialog (whom are also lower in the frame) and use a 60 for the adults and "pros". This is on a not so "sound" sound stage and we get good results. Good acoustics would get us further.
Just my 2cents. YMMV of course.
I work on a show in which we utilize the 70 to pickup the quite kid dialog (whom are also lower in the frame) and use a 60 for the adults and "pros". This is on a not so "sound" sound stage and we get good results. Good acoustics would get us further.
Just my 2cents. YMMV of course.
SMuir
Well-known member
Busy street scenes are are where long-rifle mics like the MKH70 really shine. I frequently use my MKH816 for "man on the street" interviews where the mic is only about two feet away. Off axis sound is extremely attenuated and coloured (especially at close range), so you'll have to be right on target when cuing the mic.
TyFord
Well-known member
OTOH,
Busy, reflective environments like busy streets are best conquered with a hypercardioid and not ANY shotgun because shotguns are more omni directional at mid and low frequencies. This is, of course, provided that you can get close enough with the hyper.
Regards,
Ty Ford
Busy, reflective environments like busy streets are best conquered with a hypercardioid and not ANY shotgun because shotguns are more omni directional at mid and low frequencies. This is, of course, provided that you can get close enough with the hyper.
Regards,
Ty Ford
MattinSTL
Sound Modulator
I gotta' agree on that one... the hyper is slowing becoming my preferred "do-it-all" mic... I was able to get some great sound in remote locations at longer then normal distances with a shotgun... and it's even more fun with a long gun... but most of the time the hyper is the one I go for... it's getting more and more that way all the time.
It's funny to me that Schoeps spent years talking of the weaknesses inherrent in guns and the superiority inherrent in hypers... and now that they are actually making guns I finally believe them.
For best results use the right mic for the right job... but it's surprising how often a hyper IS the right mic.
In that busy street scenario I'd be damn sure to have a couple of lavs ready to go too... you may end up going that route. I've got a sennheiser red-dot MKE2 that I'll break out in a case like that if the other mics won't cut it.
It's funny to me that Schoeps spent years talking of the weaknesses inherrent in guns and the superiority inherrent in hypers... and now that they are actually making guns I finally believe them.
For best results use the right mic for the right job... but it's surprising how often a hyper IS the right mic.
In that busy street scenario I'd be damn sure to have a couple of lavs ready to go too... you may end up going that route. I've got a sennheiser red-dot MKE2 that I'll break out in a case like that if the other mics won't cut it.
MattinSTL
Sound Modulator
First off... generally speaking... hypers indoors and shotguns outdoors... but sometimes... hypers also outdoors!
R.E. the shotgun? Yes longer reach. Also if I'm in run'n'gun style shooting and I can expect the situation to favor the gun. Did you hear the haiti stuff? I had a boom op there but he was... uh... well first off he insisted on bringing this 6' pole... and it started an argument when I wanted to bring either my 9' or 13' pole... so I left it go. When we got there it took about 5 minutes for everyone to get clear about my point back here and I actually ended up doing the sound with a B6 or cam mounted ck69... all clips are one or the other... nothing else.
Distance to mouth is everything... that and acoustics of the location... those two things are more important then any other factor... including the quality of the mic. The mkh70 is probably one of the best, if not the best long gun there is. I'd love to own one. Where I'd use the 70 is in a situation where I can't get as close as I'd like but yet the locations are fairly controlled with little to no unwanted noise in the direct path of the mic either from behind the speaker or being bounced in off a building... the other time I'd use the 70 is when it can be properly boomed and the shot works with normally unwanted sound getting on the track. For this city situation there is going to be NON-STOP unwanted sound coming into that mic... it will be non-stop... even though it's a 70... but the thing is the desired sound (as long as the boom op is good and close) will be so much stronger that it will most likely work for the shot.
Pretty much the same rules apply for the hyper... but it depends on how big of a bubble that you need to hear. The hyper will still be hearing everything else, but with an emphasis on the loudest sounds relative to the mic... so if you have a good boom op that can skirt the frame then your actors should be the loudest sound... with the occasional truck going by and blowing the shot.
So for me the bottom line is that I use the hyper when I need to cover 2 or more people in a situation where their dialog is likely to overlap... and/or if I have a boom op that can't handle a tight pattern mic.
The shotgun comes out when I have more control (like script and no stepping on each other's lines) of the environment or a better boom op or need to mic at longer distances. I like to get an intimate sound whenever possible... I'd rather use natural sound/room tone to add a live feel as needed, but I like to get a studio sound any time possible. So I always choose my mic based on whichever one I think will best give me that. Since hypers and shotguns have a little overlap in usefulness sometimes it can be a tough call.
With the 70 it's going to be pretty obvious who the mic is pointed at... so the boom op had better be good... a hyper would be way more forgiving.
Also... when people talk about reach... it's all relative. I consider long reach to normally be 5-7' away... and normal reach/distance to be 2-3'... I think most newbies think long reach means 10-20'... but really it just means (for me... for dialog) twice the normal close distance.
R.E. the shotgun? Yes longer reach. Also if I'm in run'n'gun style shooting and I can expect the situation to favor the gun. Did you hear the haiti stuff? I had a boom op there but he was... uh... well first off he insisted on bringing this 6' pole... and it started an argument when I wanted to bring either my 9' or 13' pole... so I left it go. When we got there it took about 5 minutes for everyone to get clear about my point back here and I actually ended up doing the sound with a B6 or cam mounted ck69... all clips are one or the other... nothing else.
Distance to mouth is everything... that and acoustics of the location... those two things are more important then any other factor... including the quality of the mic. The mkh70 is probably one of the best, if not the best long gun there is. I'd love to own one. Where I'd use the 70 is in a situation where I can't get as close as I'd like but yet the locations are fairly controlled with little to no unwanted noise in the direct path of the mic either from behind the speaker or being bounced in off a building... the other time I'd use the 70 is when it can be properly boomed and the shot works with normally unwanted sound getting on the track. For this city situation there is going to be NON-STOP unwanted sound coming into that mic... it will be non-stop... even though it's a 70... but the thing is the desired sound (as long as the boom op is good and close) will be so much stronger that it will most likely work for the shot.
Pretty much the same rules apply for the hyper... but it depends on how big of a bubble that you need to hear. The hyper will still be hearing everything else, but with an emphasis on the loudest sounds relative to the mic... so if you have a good boom op that can skirt the frame then your actors should be the loudest sound... with the occasional truck going by and blowing the shot.
So for me the bottom line is that I use the hyper when I need to cover 2 or more people in a situation where their dialog is likely to overlap... and/or if I have a boom op that can't handle a tight pattern mic.
The shotgun comes out when I have more control (like script and no stepping on each other's lines) of the environment or a better boom op or need to mic at longer distances. I like to get an intimate sound whenever possible... I'd rather use natural sound/room tone to add a live feel as needed, but I like to get a studio sound any time possible. So I always choose my mic based on whichever one I think will best give me that. Since hypers and shotguns have a little overlap in usefulness sometimes it can be a tough call.
With the 70 it's going to be pretty obvious who the mic is pointed at... so the boom op had better be good... a hyper would be way more forgiving.
Also... when people talk about reach... it's all relative. I consider long reach to normally be 5-7' away... and normal reach/distance to be 2-3'... I think most newbies think long reach means 10-20'... but really it just means (for me... for dialog) twice the normal close distance.
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in simple words - in real world , you was getting nothing except the noise - have agood day and give less falls suggestions .
if you have long shotgun it is the best to get usable sound .
and excuse me what is that close in the frame? - to stick it to the person mouth
2 shot with normal headroom is about 2 feet over and usially you can see the knees - ild like to see some ass doing that on a busy street with traffic 10 feet from the subject with hyper
82 , 816 70 is the way to go as long you have steady hand .
as i said ,its pity you couldn't see it today .
if you have long shotgun it is the best to get usable sound .
and excuse me what is that close in the frame? - to stick it to the person mouth
2 shot with normal headroom is about 2 feet over and usially you can see the knees - ild like to see some ass doing that on a busy street with traffic 10 feet from the subject with hyper
82 , 816 70 is the way to go as long you have steady hand .
as i said ,its pity you couldn't see it today .
I used mkh 70 today but I 'm little disapointed with how it collects the sound. I could obviously hear the difference when moved out from the sound source but still it collects a lot of stuff from the side. I will add that three of b6 s I used did beautifull job. I had to work on the placement a little bit because of the funky uniform but I pulled it of.