best shot gun or boom microphone for AF100 interview indoors

If I'm not mistaken, the Schoeps CMIT 5 has a sensitivity of -32 dB, the Neumann KMR 81 i has a sensitivity of -33 dB, and the Rode NTG3 has a sensitivity of -30 dB. If you are plugging the mic directly into the camera, Jan was recommending that the mic have a sensitivity of around -50 dB.

If what I've stated above is correct, than what are the options? Yes, there is going through a mixer like a Sound Devices 302, but when shooting solo this is not always an option. There is also the option of using a -20 dB pad like the Schoeps MDZ 20 Inline Attenuator, but all the pads I've looked at would at 3 or more inches to the microphone, making most shotguns too long on an AF100 body.

Are there shorter pads out there? Is sensitivity in the -30 dB range not really a big deal?

Also, I noticed that Neumann KMR 81 i has a 10 dB attenuation switch, would this act the same way as any other 10 dB pad? If so, that would give the Neumann a sensitivity of -43 dB, right? That is at least closer to the recommended range for the AF100.

I do mostly solo doc shooting, and I would really like to find a mic that works well with the AF100 without going through a mixer. Thanks for any advice!
 
you can call up one of the audio retail houses and they can custom make you a shorty xlr cable with a built in pad
 
MPGordon said:
If I'm not mistaken, the Schoeps CMIT 5 has a sensitivity of -32 dB, the Neumann KMR 81 i has a sensitivity of -33 dB, and the Rode NTG3 has a sensitivity of -30 dB. If you are plugging the mic directly into the camera, Jan was recommending that the mic have a sensitivity of around -50 dB.

If what I've stated above is correct, than what are the options? Yes, there is going through a mixer like a Sound Devices 302, but when shooting solo this is not always an option. There is also the option of using a -20 dB pad like the Schoeps MDZ 20 Inline Attenuator, but all the pads I've looked at would at 3 or more inches to the microphone, making most shotguns too long on an AF100 body.

Are there shorter pads out there? Is sensitivity in the -30 dB range not really a big deal?

Also, I noticed that Neumann KMR 81 i has a 10 dB attenuation switch, would this act the same way as any other 10 dB pad? If so, that would give the Neumann a sensitivity of -43 dB, right? That is at least closer to the recommended range for the AF100.

I do mostly solo doc shooting, and I would really like to find a mic that works well with the AF100 without going through a mixer. Thanks for any advice!
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My random thoughts ... Any of your listed Mics are going to pickup camera and or operator noise when mounted to a camera. The only time a mic should be mounted to a camera is run and gun nat sound when you are willing to compromise quality for the sake of portability. But always try to decouple the Microphone from the camera when you can, as in a boom. Always carry a set of variable audio pads in your bag for easy impedance matching. In your situation I would likely start with a pair of Sennheiser G3 wireless w/ Countryman Mic to provide a nice quality low cost wireless solution. I would then add a Sennheiser MKH60 used or new, a carbon fiber boom pole with zeppelin dead cat and mount, a couple of lengths of mic cable, a C-stand w/boom mount holder, sand bag. This will cover a lot of bases. The Oktava MK-012 can be added as a low cost indoor solution with the addition of a Rycote Baby Ball Gag with suspension mount and dead cat. Then later when you want to upgrade to a Schoeps your Baby Ball is good to go. At that point you are probably looking at the addition of a mixer. To get to the next level of performance requires something along the lines of an SD302. Once you have used a professional field mixer it would be hard to leave it behind on a shoot needing great audio. Some people use a carry bag, others mount the mixer to a rails mount or even just set it on a stool. Also don't forget a good set of headphones.

Good Luck!

Dave
 
MPGordon said:
If I'm not mistaken, the Schoeps CMIT 5 has a sensitivity of -32 dB, the Neumann KMR 81 i has a sensitivity of -33 dB, and the Rode NTG3 has a sensitivity of -30 dB. If you are plugging the mic directly into the camera, Jan was recommending that the mic have a sensitivity of around -50 dB.


I've used the CMITU5 on an HPX 170, 370, Af100. with the menu setting at -50 and had perfect results. The mic is not too hot for the inputs, level controls are at the mid points and I've been either really lucky or the mic just works with the camera. I've been happy with the sound and so have all my clients.

Sanken shotgun mics are definitely too hot for any the cameras listed above without some type of pad in line with the mic.
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I'm putting together a kit for tomorrows shoot and just tried my AT897 and it worked very well. It's not as hot as the 875R. I've also packed a Sennheiser G2 system in the bag should I have the need for it.
 
Hmm. It seems tough to pick a shotgun mic on here. I'd like to pick one that I can use for run and gun most of the time, but be able to mount it on a boom pole when i have the budget for a sound man. Any thoughts on this?
 
In my view David's post is instructive for a lot of people just getting into doing decent audio and should listen up to the individual. A bit of a reality check. Many here are just dropping 5 grand on a camera, probably a bunch on lenses and accessories so dropping a few grand on a Schoeps is not really a helpful suggestion in this context. David suggests a lot of little things that will add up to good sound even with middle of the road mics, like carrying attenuators, getting the mic on an isolated pole and so on. I have read Ken Stone's article a couple of times over the years (there are a few done on mics of this variety over a span of time on his site). The article is very good and will give neophytes a good base of knowledge of what to look for in a mic but the range of choices will paralyze a more than a few going to it.

If you look at the pros they will have Schoeps "sticks" but they will also have Sennheisers, Audio Technicas, Trams, AKGs, Shures and others in their kit. Invest in a couple of good shockmounts as well. You will hear the Oktava mentioned quite a bit in by the indie filmmaking crowd -- haven't used one -- but the near universal praise of the kit cannot be ignored and also you get a bunch of capsules with different "patterns" which makes it a good bang for the buck and that it is short is also useful in a lot of applications. Finally don't forget about headphones as well. Two sets come out as pretty much the de facto standard for sound guys and they are the Sony MDR-7506 and the Sennheiser HD-25 II. Earbuds are great when travelling light but it is a good idea to have a good set of headphones that will indicate issues in the sound or mix and both the Sony and Sennheiser's mentioned will do that.
 
I bought one 1 meter XLR cable and re-solder one of the XLR connectors, after I had cut the cord to fit inbetween mic and camera.

This week I had the chance to try out my AT875R together with the AF101. The good thing I got sound but the bad thing is pointing a shotgun mic horizontally is the worst thing one can do. You end up picking up what's far behind the subject and the back lob does the same. To have as a backup or offline sound I think it works but you really have to have a boom mounted mic or lav to get good sound. I had my other shotgun AT897 as an interview mic on the other channel and that one sounded great.
 
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Mark Smith said:
MPGordon said:
If I'm not mistaken, the Schoeps CMIT 5 has a sensitivity of -32 dB, the Neumann KMR 81 i has a sensitivity of -33 dB, and the Rode NTG3 has a sensitivity of -30 dB. If you are plugging the mic directly into the camera, Jan was recommending that the mic have a sensitivity of around -50 dB.


I've used the CMITU5 on an HPX 170, 370, Af100. with the menu setting at -50 and had perfect results. The mic is not too hot for the inputs, level controls are at the mid points and I've been either really lucky or the mic just works with the camera. I've been happy with the sound and so have all my clients.

Sanken shotgun mics are definitely too hot for any the cameras listed above without some type of pad in line with the mic.
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Hi Marc,

Regarding your experience using the Schoeps CMIT U5 together with the AF100. On the AF100's Mic 1 XLR input, what was your Mic 1 audio dial set too (in the middle, or how far back or forward from the center mark?)? I'm renting a Schoeps mic this weekend and I'm very eager to know what proved to be your best AF100 audio settings when using the CMIT U5. Thanks in advance.
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