Exteriors: shotguns? or hypers?

KREEDMAN

KREEDMAN

Active member
Hi guys,

I have searched alot on this forum and got lost. I am trying to list the best mics for shooting exterior scenes. I am not sure should I look at shot guns or hyper cardiods?

I am sure every one will have an opinion. So let me ask this:

List your top 3 choices for shooting exterior scenes, wait! there's more, the location will most probably be extremely humid.

Thanks!
 
Youll want a shotgun.

Since you dont mention any budget, Im going to say Sanken CS3-e. Usable indoors also if have to.

I also recommend this http://www.bhphotovideo.com/c/product/322531-REG/Rycote_086004_Windshield_Kit_1.html

and this http://www.bhphotovideo.com/c/product/201795-REG/Rycote_033351_18cm_Small_Hole_Softie.html

for use in varying wind conditions.

Sorry I dont have anything else to recommend, this is what I use. My back ups ATM57's are only available from within Japan unfortunately.

Actually heres direct from AT Japan - http://www.audio-technica.co.jp/proaudio/shotgun/atm57/atm57.html.
 
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Is the main reason why shotguns are recommended for exteriors that they have a tighter polar pattern to reject what would normally be more ambient noise than you might have in an interior shoot?
 
I just know that I preach that to people...It would be nice to have an answer if someone asks me "why?" :grin:
 
So up to now, we only have two recommenders, and they didn't list thier top three.

- Sanken CS3-e
- Rode NTG-3
 
Budget is a factor. I've never used Sankens (don't have the coin), but they are supposed to amazing. The NTG-3 is a great mic (some would say comparable to the Sennheisser 416), in a lower price range. The AT-4073 is a little less cash and I think is probably about the best value (dollar for dollar), and after that I would go with the AT-897, which is about half the price of the 4073, but you would hear the difference in a side by side comparison. Between the 4073 and the NTG-3, I would say the extra money is well spent if you have it.

I have a personal prejudice against Sennheisser shotguns (either the Me66/K6, or the 416), but lots of people swear by them.
 
Jim Brennan said:
Is the main reason why shotguns are recommended for exteriors that they have a tighter polar pattern to reject what would normally be more ambient noise than you might have in an interior shoot?
Click to expand...

Most normal interiors (homes, offices, etc) are quite reflective acoustically. The interference tube method shotguns use to achieve their directivity is highly frequency dependent, suppressing some frequencies much more than others. The mic is very directive at some frequencies but can open up to almost omni at others in some cases. When the direct sound wave and the time-delayed (due to longer path), frequency distorted reflected sound wave interact with each other in the mic tube, strange things can result, hence the usual suggestion to use a hyper indoors. Acoustic reflection is not usually so much a problem with exteriors, OTOH, shots are often wider outdoors than when indoors. The wider shots mean you need a bit more working distance to keep the mic out of frame, the higher rejection of ambience coming into play to allow for the greater working distance, and the lower incidence of reflected indirect sound hitting the mic means the distortions experienced indoors with shotguns fade from the picture. But reflections can creep in to haunt your 'gun even outdoors - shoot a scene on a paved schoolyard near to a brick wall and you're right back into the high eflected sound level again.
 
Reasons mentioned by Steve is the number one reason I recommend the Sanken, its less prone to this than other mics.
 
Gotta vote for my AKG CK69. Here's a link to an example for a Low budget movie that's almost complete. Interior, wood floors, 10 foot ceilings about 10 X 30 feet. Mic was above the actors about 3-4 feet with the cut filter off. I used an Oktava in 1 scene, CK93 in a car the rest was a 90/10 split with the CK69 and Sanken CS3. Mostly because I didn't have a second CK at the time.

Raw Dump from FCP
http://www.louisianafilmsound.com/mic2/RouqueNOP.C.aif

Processed in Protools.
http://www.louisianafilmsound.com/mic2/RouqueProc.C.aif
 
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