Best Shotgun Mic for XF100
- Thread starter JoeJITSU
- Start date
rmflyfisher
Member
Was tight on time for a last minute project and ended up with a Sennheisher ME66/K6 being the mic I could get ASAP. It worked great and haven't had a reason to try to look for another one. I had to add a strip of 2mm foam around it to get it to fit securely in the mount. I didn't have any issues with it showing up in the xf100's field of vision, so the length wasn't an issue.
Is there a best mic to mount in the top screw on holder? You could say it's not an issue, just use what you have lying around - it's only 16 bit sound so why use a top-end mic? I'm using either a Rode NTG1 or NTG3 for XLR, both work great, and sometimes a Rode Videomic in the 3.5mm, which is cheap and sensitive but you have to remember to turn it on and off. I'd also really value other opinions. (There's also the issue of stereo or mono, but I guess most of us have worked out this is a personal preference).
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I use an AT875r because it's short and doesn't intrude into frame when I have the wide angle adapter on. With a long mic, you'd have to either have the mic protrude past the lens or pull it back where it kind of gets in the way. The mount is plastic so not the most stable of supports for a long mic. Plus, I save my best mics for off camera use since on-camera mics are really just for audio sync or backup sound.
When you get it set up properly you're going to love your XF100 more than any other camcorder. It has limitations - you'll want to get Neat Video if you do anything in low light, and wish there was a proper ND filter or at least a button to engage the one there is. Starting from nothing, it's a hard choice. I have a friend with an EX1, also a nice camera. He did complain about the cost of SxS cards, don't know if these are cheaper now. The EX1 is better in low light, the dynamic range of the XF is better, you'd definitely miss the wide lens. Neither of us would swap even though his was twice the price initially - I think you can find them new in the same price range now, which maybe does tell you something. - [edit] Dang, just noticed you said EX1r. They fixed the lens. If price isn't an issue, go for it.
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ddixon
Well-known member
I don't have time for a long reply, but I also moved to the XF100 from the HMC40. Out of the box the look is VERY flat and uninspiring. The thing I had to learn is that Canon assumes that with this level camera you will either customize the picture files, or will want to shoot very flat and do extensive adjustments in post. I also saw your post on the custom XF300 picture file. In short, with the XF100 limit gain to no more than +6. You can go to +12 if you use special CP files to limit noise. Using Auto will introduce a lot of noise.
I want to get more of a finished look in-camera, so I have customized my CP settings to get more saturated colors, more sharpness, and a more contrasty look. That XF300 sample looks like it has a similar approach. More color, crushed blacks, and on the +6 db shots, he probably reduced sharpness, but more importantly lowered detail coring to hide noise. If you control the noise, the XF100 is much better than the HMC40 in low light, and every bit as good in bright sun. Plus the Canon has many more features. Oh yeah, for best quality keep the lens pretty wide - f4 or wider - may need a physical ND filter in bright sunlight.
I want to get more of a finished look in-camera, so I have customized my CP settings to get more saturated colors, more sharpness, and a more contrasty look. That XF300 sample looks like it has a similar approach. More color, crushed blacks, and on the +6 db shots, he probably reduced sharpness, but more importantly lowered detail coring to hide noise. If you control the noise, the XF100 is much better than the HMC40 in low light, and every bit as good in bright sun. Plus the Canon has many more features. Oh yeah, for best quality keep the lens pretty wide - f4 or wider - may need a physical ND filter in bright sunlight.
hi dixon
just doing some reading. i agree with your assessment though i am basically a run and gun type of guy. basically i want to point and shoot. do mostly guerilla style docu shooting in far off places so not looking for a cinema effect. any chance of trying some of you CP settings?
mcr
just doing some reading. i agree with your assessment though i am basically a run and gun type of guy. basically i want to point and shoot. do mostly guerilla style docu shooting in far off places so not looking for a cinema effect. any chance of trying some of you CP settings?
mcr
ddixon
Well-known member
mcrein - sure - no time tonight, but I'll write back tomorrow with info on what I use. I shoot very flat and adjust grading in the editing process, using the waveform display to make sure I don't get highlights blown out. I do have a very saturated, contrasty CP file I also use. I even have a third for when I have to use higher gain. More details tomorrow.
ddixon
Well-known member
Well, I found this I had posted on another forum last fall. I've pasted it in below with a few edits to reflect some changes I've made since then.
CP settings...
I'm using two CPs that I've named FLAT (requires a lot of exposure and saturation adjustment in post) and GRADED (a more finished look that requires much less adjustment - but may still require some). I usually edit any FLAT footage in post to a final look similar to the GRADED one. I shoot on manual (except for autofocus), keep the lens as open as I can, limit the exposure Gain, and make sure the highlights are not overexposed.
Gamma: Cine1 for both FLAT and GRADED
Cine2 soaks up too much light and I find the Video gammas just not as subtle a look.
Black: Master Pedestal: FLAT +15, GRADED 0
The higher the number the lighter the blacks will be. With the FLAT setting I don't want true blacks - I can put the blacks where I want them later. Even with GRADED at 0 I sometimes lower the blacks in editing. In post it's better to have to lower them than to raise them.
I'll come back to Black Gamma and Knee later.
Sharpness: FLAT 0, GRADED +4
Some dial this way back to negative numbers. I like a sharper look and sometimes add a bit of sharpening in post. Be careful with Coring. Its controls work opposite to Sharpness - higher values soften fine details and lower values sharpen them. I usually leave that at 0.
Color Matrix: Select: Cine1
This is a color gamma setting, and I learned the hard way that this MUST match the earlier Gamma choice or you get weird skin tones that can't be easily corrected.
Color Matrix: Gain: FLAT 0, GRADED +35 (using Cine1 gamma)
This is color saturation and is VERY personal. What can I say - I like a colorful image - test to see what you like. The higher the number, the more saturation.
Setup Level should be 0
Back to Black Gamma and Knee - I found one CP file that created a softer rolloff in shadows and another that did the same for highlights. These help retain shadow and highlight detail and I use these in BOTH of my CPs:
for a softer shadow rolloff:
Black Gamma: Level +23
Black Gamma: Range +4
Black Gamma: Point +29
for highlight control:
Knee Enable: On
Knee Automatic: Off
Knee Slope: +12
Knee Point: +70
With all of these, experiment to suit your taste. Hope this is helpful.
CP settings...
I'm using two CPs that I've named FLAT (requires a lot of exposure and saturation adjustment in post) and GRADED (a more finished look that requires much less adjustment - but may still require some). I usually edit any FLAT footage in post to a final look similar to the GRADED one. I shoot on manual (except for autofocus), keep the lens as open as I can, limit the exposure Gain, and make sure the highlights are not overexposed.
Gamma: Cine1 for both FLAT and GRADED
Cine2 soaks up too much light and I find the Video gammas just not as subtle a look.
Black: Master Pedestal: FLAT +15, GRADED 0
The higher the number the lighter the blacks will be. With the FLAT setting I don't want true blacks - I can put the blacks where I want them later. Even with GRADED at 0 I sometimes lower the blacks in editing. In post it's better to have to lower them than to raise them.
I'll come back to Black Gamma and Knee later.
Sharpness: FLAT 0, GRADED +4
Some dial this way back to negative numbers. I like a sharper look and sometimes add a bit of sharpening in post. Be careful with Coring. Its controls work opposite to Sharpness - higher values soften fine details and lower values sharpen them. I usually leave that at 0.
Color Matrix: Select: Cine1
This is a color gamma setting, and I learned the hard way that this MUST match the earlier Gamma choice or you get weird skin tones that can't be easily corrected.
Color Matrix: Gain: FLAT 0, GRADED +35 (using Cine1 gamma)
This is color saturation and is VERY personal. What can I say - I like a colorful image - test to see what you like. The higher the number, the more saturation.
Setup Level should be 0
Back to Black Gamma and Knee - I found one CP file that created a softer rolloff in shadows and another that did the same for highlights. These help retain shadow and highlight detail and I use these in BOTH of my CPs:
for a softer shadow rolloff:
Black Gamma: Level +23
Black Gamma: Range +4
Black Gamma: Point +29
for highlight control:
Knee Enable: On
Knee Automatic: Off
Knee Slope: +12
Knee Point: +70
With all of these, experiment to suit your taste. Hope this is helpful.
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