Advice on Audio recording in Extreme Conditions

M

mchamberlain

New member
Hi everyone,

This is my first forum post, so I apologize if I am not doing this quite right. I appreciate your patience and your advice.

I am trying to find the best solutions for recording audio in Alaska during March. The temperatures will be anywhere between -20 F and 0 F (or warmer).
I am shooting a feature-length documentary on a Canon XH-A1 HDV camera (although I am about to upgrade to a Canon XF300). Both have two XLR inputs. At this point in time, due to budgetary reasons, I am unfortunately a 1-person crew. I will be filming mostly outdoors.

My audio equipment is as follows:
-Sony Wireless Lav Microphone Package that includes the UTX-B2 Transmitter and the URX-P2 Tuner. B&H Link
-Rode NTG-2 Shotgun Microphone with a WS6 Deluxe Windshield
(I filmed throughout 2011 with this package)

Question 1: What is the best way to record subjects with the wireless lav system in an outdoor setting, while reducing clothing and wind noise? Where best to put the microphone? What wind screens could I use that won't fall off the lav?

Question 2: Although I understand fully that it is a huge contradiction in itself, and a huge waste of a shotgun microphone to have it mounted on a camera, I will be without a sound recordist. It is disappointing, but a part of this project. The NTG-2 has crapped out on me once already in cold conditions. The windshield only performs so-so in high wind conditions; ultimately, not well enough for me. Knowing full well the implications of putting a shotgun microphone on a camera, I would like to know what suggestions you have for a high quality shotgun microphone that would be able to mount on my camera? Taking into account weight, windscreen opportunity/compatibility, and cold weather performance. I am open to any ideas, with a range of costs.

Thank you so much for your time.

Best wishes,

mchamberlain
 
Regarding the second question, it would help if you could give some rough estimate of the price range, and at what distance you think it will be used from the sound source.

From the top of my head, the best bet would be a RF-based microphone such as the sennheiser MKH-series, which has a good record of withstanding cold and moisture (such as condensation when bringing the equipment into the warmth inside). The MKH416 can sometimes be gotten for a good price used (if you can supply T-power those models can go very low, but if you buy for future use then the P48 model is a safer bet). Another option is the rode NTG-3 which many state is a close copy of the 416, but with a slight less narrow pick-up pattern, and those with a later serial number should handle cold quite well (not the early ones). I would check that though to make sure, as you wont be able to get repairs when you've gone.

If you can borrow or rent a mic, a way to test it is to just put it in the freezer for a while, and see if it still works alright.

Secondly, you will need wind protection in the form of a blimp and furry coat/dead cat. This will add bulk and weight, but reduces wind much better then a softie.
 
If the lav can be seen, then there' are some kinda "mini-windjammers" for lavs which will help a lot.

.
 
dre83 said:
If the lav can be seen, then there' are some kinda "mini-windjammers" for lavs which will help a lot.

.
Click to expand...

I was thinking the same thing. There are furry lav windcovers out there that work well, but even then, if it's extremely windy they may get blown out. Camera mounting a zeppelin is going to be big, bulky, heavy, and possibly get in your shot if you are zoomed all the way out. I've never seen anyone do it.
 
Have you ever been to Alaska mate. This is a bit o/t but be very careful of the Grizzly bears up there.

Planning a trip to visit friends in Ontario, my wife wanted a side trip to see bears catching fish. So from Anchorage we flew to Brooks Falls where they make you do a short bear orientation course about what to do if you meet a Grizzly. Basically you don't surprise them or ever get between them and their cubs, or you're dead, they're mean SOBs you won't get any time to focus.

So taking the Canon A1 we set off walking through the tundra to find the river. We crossed bear tracks and saw their poop, but we were a few days early and although we saw some watching us we didn't see any catching fish. So we made our way back to the camp. Here you can see the walkway with panic gates in case a bear climbs up there.

http://www.google.com.au/search?q=b...CYrH0QWLsbSPDw&ved=0CJMBELAE&biw=1366&bih=641

That was probably the stupidest thing we ever did, a month later 2 people out camping there got killed. But have a great trip.

Cheers.
 
trial by fire. that's in at the deep end.

gimme a sec, there has to be another metaphor....
 
I know that this topic is about audio, but how are you going to keep your camera warm enough under sub-zero conditions?
 
kennedymax said:
I know that this topic is about audio, but how are you going to keep your camera warm enough under sub-zero conditions?
Click to expand...

That's a necessary question.

mchamberlain, you'll want to check out THESE camera warming cases from Porta Brace. Cameras that record to solid-state media will fare better in colder climates than cameras the record to tape, simply because there's not a tape mechanism to freeze up. That said, you'll still have focus and zoom mechanisms to keep operational.

As for the lavs, it can be difficult to bury them in heavy (winter) clothing without seriously compromising sound quality. The furry windscreen is probably your best bet. Pearstone, K-Tek, and Rycote all make very good furry lav covers.

As for your NTG-2, it may not fare well. The NTG-3 is much more resistant to temperatures and especially to moisture.

@Ken... I owe you a phone call, and coffee soon.
 
While I've never shot in extreme low temperatures myself (Florida yay!) here are two tips I picked up. The first one is use proper airtight plastic cases (with a rubber gasket, no rubbermaid!) for sensitive gear, especially microphones. We actually use them here in Florida when moving equipment in an out of air conditioned spaces (68-73 degrees) and outside (85-95 degrees and 99% humidity) to prevent condensation. The other tip I picked up on a still-photography forum and that was to buy chemical warm-up packs and put them inside the gear covers. Apparently this keeps the batteries just warm enough to not suddenly die. Hope this helps a bit, and good luck!
 
If you want t keep it audio related, you can always wrap the camera in a Windjammer ;)

In terms of lavalieres, there are many options that range from utilizing Rycote Undercovers and Overcovers, Rycote Lavliere Windjammers, Remote Audio Micro cat, Redhead windscreens and many more,. K-tek booms even has a fleece topper or fuzzy topper for some models of microphones. Or you can try a new one on the horizon, the Bubblebee. You can find Bubblee dealers from Plus24's website. All of these work pretty well. I had a buddy up at Mt. Aurora in Alaska during a pretty wicked storm and the Micro Cat saved him.

If you want to go old school, you can try wrapping the mic in a layer of moleskin and placing that under the jacket (tight fitting jackets only) with another piece of moleskin or some medical tape.

For shotguns or handhelds, you can try a Rycote Softie cover or a WindTech MM furry cover. For additional protection, Rycote also sells Softie Windjammers, so you have two layers of fur. Surprisingly, there wasn't much freq loss associated with the mic being so buried, although it wouldn't hurt to turn up your mids and highs a tad.
 
Jema said:
Regarding the second question, it would help if you could give some rough estimate of the price range, and at what distance you think it will be used from the sound source.
From the top of my head, the best bet would be a RF-based microphone such as the sennheiser MKH-series, which has a good record of withstanding cold and moisture (such as condensation when bringing the equipment into the warmth inside). The MKH416 can sometimes be gotten for a good price used (if you can supply T-power those models can go very low, but if you buy for future use then the P48 model is a safer bet). Another option is the rode NTG-3 which many state is a close copy of the 416, but with a slight less narrow pick-up pattern, and those with a later serial number should handle cold quite well (not the early ones). I would check that though to make sure, as you wont be able to get repairs when you've gone.
Click to expand...

Thanks very much to everyone for the responses. Sorry it has taken me so long to get back to you. I truly appreciate your thoughts and ideas.

Basically, in terms of shotgun microphone cost estimates, I'm hitting right in between the Sennheiser 416 and the NTG-3. Around $1,000 for just the microphone itself. When I first started off last year, I only had the money for the NTG-2, but it has become quite clear that I need to go out and purchase a microphone that will do the job for me, period. So I am leaning towards the Sennheiser 416. I will definitely do some more research on the NTG-3 and see what I can find for cold weather handling. I will report back anything I find interesting enough to do so.

As for the distance between the mic and the sound source, it will range for sure because of the diversity of the documentary shoot. But for the most part I will be sticking to the rule that the closer you are to the subject with a shotgun microphone, the better.

Thanks again!
 
Last edited:
fde101 said:
You can't just set up the mic on a stand, to get it closer to the subject?
Click to expand...

Thanks fde101 for your response! You make a solid point. I have a mic stand with a boom for interview scenarios. But for the most part, a lot of my shooting is run-and-gun, so I won't have the time or the ability to be placing a mic stand somewhere. Also, a lot of the shooting is based very much on becoming a "fly-on-the-wall" and so setting up a mic stand would hinder that set up. Still, you have gotten me thinking more about how I can be creative with the mic stand I have, especially in scenarios that aren't interviews but allow me to place the microphone somewhere. It's a bit tricky, but worth thinking about. If you have any suggestions, please feel free to weigh in. Thanks! :)
 
You must log in or register to reply here.
Back
Top