Can someone describe what products are used in this setup?

TDE

TDE

Active member
1184029958_1.jpg


Obviously, a Rode NTG 1 with a deadcat or similar muff...

But what about this shock mount that its in? And the XLR cable, is that the one that comes with the RODE? Or is it an aftermarket one?

I am very interested in putting together an identical on camera audio setup, and would appreciate some links to products or professional insight!

Thanks!
 
I don't know what the cable is, as I can't tell without seeing a label. But if you're looking for a high quality heavy duty XLR cable, which is what that is, then check out either Monster Cable or Planet Waves. They both sell cables that I really like.
 
Why do you think it's an NTG1?

and... are you choosing audio equipment by... ummm... how it looks?
 
ullanta said:
Why do you think it's an NTG1?

and... are you choosing audio equipment by... ummm... how it looks?
Click to expand...

No, I know its a NTG1 from the description of the site i got it from. :thumbup:

And I am choosing my audio equipment based on countless good reviews on this forum of that product.

Now then, when I saw this setup, the way its laid out seems very good for what I am trying to do, I like the quality of the wire, the shock absorber, and its location on the camera.

Now who can help me?

-Jared
 
In the pic, the windmuff seems to be contacting the shockmount "tube", which will cause noise. The Deadcat-over-foam approach to wind protection is not the best. That shockmount might be OK in some configurations, but it has a HUGE amount of surface area that can both pick up sound (e.g., from wind) and interfere a tad with the mic pickup pattern. So: not an ideal setup!

I didn't mean to sound rude... it just wasn't "obviously" an NTG1 as you said, because you can't see the mic at all in the picture.
 
To rely on pictures to choose the right audio equipment for your specific needs is ludicrous. Sorry, but this sort of "getting the right equipment" with no clue as to what you are planning to use it for is useless.

Figure out what your exact needs are and then go down to a rental shop and ask them. Then go to a retail sound shop and ask them. Then hire a sound person for a day and watch how they do it.

Then maybe you might consider buying something that actually works for you.

Sorry, but this all this gear talk is making me dizzy. :Drogar-Sick(DBG):
 
I dont get it.

Why cant someone just tell me what I asked?

I just want to know what products are being used in the camera in the image I posted?

And FYI, since everyone seems to think that its so important, I want a camera mounted shotgun, so again, I have already decided on the rode, but i love that shock mount better than the crappy on camera mount. The wind muff is no big deal, I can get a good one of those if I need it, but I mostly want the mic, mount and XLR cable.

I already have enough trouble getting the video to render correctly in vegas to worry about this much right now anyways...
 
Looks like a mix of DIY and regular stuff. You already mentioned the mic... so that's an NTG-1.

You can get a shockmount like that from Audio Technica or several other companies... just look up shockmounts from B&H or anywhere. That's a normal configuration for a $50 shockmount... the wingnut there tells me this is DIY beyond that... the little arm extending down and the plastic locking knob at the bottom of that also says DIY.

Based on that... I would guess that the dead cat is either DIY or else something "affordable".

MicMuff or some other brand... furry over stock foam.

The cable is most likely custom... because the heatshrink sticking out of the top connector would be pretty crappy for any reputable cable builder. The cable itself looks fatter then standard L-4E6S Canare StarQuad... but it's probably something similar to that... and at the top they have a newest generation Neutrik female XLR with stock boot... and at the bottom a black Neutrik 90 male connector.

For the record I wouldn't suggest 90 degree connectors at the DVX anyway... at the MIC it's fine... but at the DVX that limits your options... the DVX has a stepped surface at the XLR jacks and the 90 limits the connectivity of a second mic cable.

So there you go... I'd say that pretty much covers it. Good luck.


http://www.bhphotovideo.com/c/product/367746-REG/Rode_NTG_1_NTG_1_Shotgun_Microphone.html

367746.jpg


http://www.bhphotovideo.com/c/product/392861-REG/Rode_DEAD_CAT_Dead_Cat_Wind_Muff.html

392861.jpg


http://www.bhphotovideo.com/c/product/262154-REG/Audio_Technica_AT8314_20R_XLR_Male_to_XLR.html

262154.jpg


This is the reverse of what is pictured... but it makes sense to have the 90 at the mic and the straight connector at the camera, not the way that's pictured in the original post.

http://www.bhphotovideo.com/c/product/429633-REG/Rode_SM4_Shotgun_Microphone_Shock_Mount.html

429633.jpg


Now take that thing apart and rig some goofy bar thing off the stock DVX pipe-clamp mount.
 
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TDE said:
I dont get it.

Why cant someone just tell me what I asked?

I just want to know what products are being used in the camera in the image I posted?

And FYI, since everyone seems to think that its so important, I want a camera mounted shotgun, so again, I have already decided on the rode, but i love that shock mount better than the crappy on camera mount. The wind muff is no big deal, I can get a good one of those if I need it, but I mostly want the mic, mount and XLR cable.

I already have enough trouble getting the video to render correctly in vegas to worry about this much right now anyways...
Click to expand...


They aren't just telling you because they care about you getting the best sound.

It is experience their that they are sharing.


MattinSTL knows his stuff so I am sure he is right on the money.

But, if you want to know exactly exactly exactly what gear is in the picture, ask the guy who took it or the guy who owns it.


If you want to know about sound, start here.
 
MattinSTL said:
Looks like a mix of DIY and regular stuff. You already mentioned the mic... so that's an NTG-1.

You can get a shockmount like that from Audio Technica or several other companies... just look up shockmounts from B&H or anywhere. That's a normal configuration for a $50 shockmount... the wingnut there tells me this is DIY beyond that... the little arm extending down and the plastic locking knob at the bottom of that also says DIY.

Based on that... I would guess that the dead cat is either DIY or else something "affordable".

MicMuff or some other brand... furry over stock foam.

The cable is most likely custom... because the heatshrink sticking out of the top connector would be pretty crappy for any reputable cable builder. The cable itself looks fatter then standard L-4E6S Canare StarQuad... but it's probably something similar to that... and at the top they have a newest generation Neutrik female XLR with stock boot... and at the bottom a black Neutrik 90 male connector.

For the record I wouldn't suggest 90 degree connectors at the DVX anyway... at the MIC it's fine... but at the DVX that limits your options... the DVX has a stepped surface at the XLR jacks and the 90 limits the connectivity of a second mic cable.

So there you go... I'd say that pretty much covers it. Good luck.


http://www.bhphotovideo.com/c/product/367746-REG/Rode_NTG_1_NTG_1_Shotgun_Microphone.html

367746.jpg


http://www.bhphotovideo.com/c/product/392861-REG/Rode_DEAD_CAT_Dead_Cat_Wind_Muff.html

392861.jpg


http://www.bhphotovideo.com/c/product/262154-REG/Audio_Technica_AT8314_20R_XLR_Male_to_XLR.html

262154.jpg


This is the reverse of what is pictured... but it makes sense to have the 90 at the mic and the straight connector at the camera, not the way that's pictured in the original post.

http://www.bhphotovideo.com/c/product/429633-REG/Rode_SM4_Shotgun_Microphone_Shock_Mount.html

429633.jpg


Now take that thing apart and rig some goofy bar thing off the stock DVX pipe-clamp mount.
Click to expand...

:Drogar-BigGrin(DBG) Thank you SO MUCH sir!!!

ESTEBEVERDE said:
They aren't just telling you because they care about you getting the best sound.

It is experience their that they are sharing.


MattinSTL knows his stuff so I am sure he is right on the money.

But, if you want to know exactly exactly exactly what gear is in the picture, ask the guy who took it or the guy who owns it.


If you want to know about sound, start here.
Click to expand...

Will do.

A boom is NOT an option for me. I am a one man show, and all my films will be made for internet use ONLY. I have a (new) DVX100B and a VX2100.

I am basically just looking for a $250-$400 upgrade over the STOCK sound setup that will mount on the camera.

Thanks!
 
ESTEBEVERDE said:
They aren't just telling you because they care about you getting the best sound.

It is experience their that they are sharing.
Click to expand...

Thank you.

TDE, sorry to have sounded gruff, but let me say this: if you start from where your particular needs might be, then asked the question "what **type** of audio equipment might address those needs" then you could get some genuine help and you would, in turn, learn quite a bit (of free knowledge, I might add.)

Once you find out what **type** of gear would work best for your situation, then you could proceed to ask which **brand** of gear might be the best investment given a certain budget.

This way you would be more apt to end up with what you really need and have the kind of gear that will work for you instead of swinging blindly and tossing money out the window --in addition to getting bad audio.

Haste makes waste.
 
Just so you know, that little side-bar thingy does NOTHING to help the sound (or even make it look like you know what you're doing)... I don't see the point in it. Rather then take apart the shockmount you can just get one of these:

http://www.bhphotovideo.com/c/product/68160-REG/Audio_Technica_AT8469_AT8469_Camera_Shoe_Mount.html

68160.jpg


If you get this one pictured above then you need a 3/8-16 stud to put inside... or you can make your own by simply screwing in a bolt/screw and then cut the bolt/screw off so that you leave yourself about 1/4" to 1/2" of threads that can run into the shockmount bottom.

Now this part that I have pictured below is a relatively new offering by Rycote... and while it's $22... that's actually a pretty reasonable price for how these things are made. I've got a K-TEK version of this same bit and yes, it's top-notch construction... but they're $10 higher and I don't think there's really any difference other then the Rycote center machining appears to be brass... which is probably better anyway. With both this piece in Rycote and K-TEK, you're getting a one-piece machined thing that will most likely never wear out... with the adapter pictured above, there's a rivet-style construction and I actually have one of those in a junk drawer because the bottom shoe-plate rotates and it's annoying. You would not have that problem EVER with the piece pictured below (or with the K-TEK).

http://www.bhphotovideo.com/c/product/407099-REG/Rycote_037302_037302_Hot_Shoe_3_8_.html

407099.jpg



Or else just get this shockmount:

http://www.bhphotovideo.com/c/product/398316-REG/Rode_SM3_SM3_On_Camera_Shockmount.html

398316.jpg


Or perhaps this one:

http://www.bhphotovideo.com/c/product/256865-REG/PSC_FPSC0035D_UCSM_Small_Universal.html

256865.jpg


There's no reason to rig the mic up like that guy shows it rigged... and I'd expect the results to be inferior to what you will get if you just use the shoe. If you think you want to keep the shoe open to add an on-cam light or something then you'd be better off using the pipe-clamp part of the DVX to rig a light there, since putting a mic off to that side of the cam will increase transport noise (from the tape-drive in the DVX) anyway. Frankly that pic may look technical, but it's not really a good way to set up a mic. Use the shoe.

Even though this point seems obvious... you may STILL want to get the other type of shockmount... with the 3/8-16 threaded hole in the bottom... because that's what you'll need when you start booming... which you'll find that you want to do as soon as possible. Then if you add one of the adapters to your kit you have a shockmount that's ready for anything. The mounts pictured above will be convenient for the cam shoe, but you'll be forced to rig something stupid like that original guy did... whereas buying the adapter and "normal" shockmount, rather then a shoe-only mount, will let you use the shockmount intelligently in either case.
 
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MattinSTL said:
Even though this point seems obvious... you may STILL want to get the other type of shockmount... with the 3/8-16 threaded hole in the bottom... because that's what you'll need when you start booming... which you'll find that you want to do as soon as possible. Then if you add one of the adapters to your kit you have a shockmount that's ready for anything. The mounts pictured above will be convenient for the cam shoe, but you'll be forced to rig something stupid like that original guy did... whereas buying the adapter and "normal" shockmount, rather then a shoe-only mount, will let you use the shockmount intelligently in either case.
Click to expand...

I can confirm that the Rode SM3 - Adjustable Suspension Shockmount, along with having the hotshoe mount, also has a 3/8-16 threaded hole on the bottom.
 
Thanks for more great posts.

Here is my deal.

I am a one man show, and will always be a one man show with this camera for its application. I dont have help, and wont ever get it.

I am the marketing director for a racing company, and my specific responsibilities include all marketing, design, photography, cinematography, web development, programming, signs & print, etc.

All on my own.

So, I do understand and know how much better the audio will be with a boom, and its IS smart to get parts that can be used in multiple applications in the future, I agree.

For now, I want a on-camera mounted, drastically improved, audio setup.

So, I will now be doing a shockmount mounted on the shoe (really wanted that for a spot light, :( ) and using the correct XLR cable and kyote muff that you linked me too.

Unless anyone else wants to chime in. I appreciate all the comments, links, and help. This board is first class.
 
That shockmount does look like a DIY out of a soup can. I would go with a much smaller and more flexible XLR cable, and DO back that fuzzy off the shockmount. Rode Shotgun OK.
 
I don't know what you'll be filming, but to improve your audio without booming, you might consider a simple handheld mic for interviews and such. Maybe even wireless lav's.
If you're only filming the races, than I imagine it doesn't even matter that much that you mount the mic on cam, as the noise comes from everywhere anyway. Maybe for ambience noise it's even better to get a hyper mic than a shotgun? With an hyper like the Oktava you could use a Baby Ball Gag too, which is better windprotection than just the fur I think.

I'm no pro or anything, just interested and trying to help ;)
 
Dionysos said:
I don't know what you'll be filming, but to improve your audio without booming, you might consider a simple handheld mic for interviews and such. Maybe even wireless lav's.
If you're only filming the races, than I imagine it doesn't even matter that much that you mount the mic on cam, as the noise comes from everywhere anyway. Maybe for ambience noise it's even better to get a hyper mic than a shotgun? With an hyper like the Oktava you could use a Baby Ball Gag too, which is better windprotection than just the fur I think.

I'm no pro or anything, just interested and trying to help ;)
Click to expand...

TDE, what Dionysos has posted is finally getting to the point. Figuring out where you are shooting and what are you doing to try to get audio. An on camera shotgun mic might be useless. If you are taping drivers inside moving cars, then a lav system will be better. You can always add track noise later (hey, you can even buy generic audio tracks for the timeline.)

If you're doing interviews inside a small room, the on-camera shotgun will not be good. A simple handhled mic (as Dionysos mentions) on a rigged up old light stand or table top tripod will work great.

The mic has to be *close* to the source, whether it's boomed or stuck on the camera. How far aay from your sources will you be?

Now you're getting somewhere. You're starting to think about your real needs. As was already pointed out, we are only trying to help. And to keep you from spending money on things that will not work for your situation. Sound pros have all kinds of different equipment for different situations.

Hey, what I told you I wanted to buy a shiny yellow Porsche 911 Turbo because I saw a pic of it and I heard that it was the best thing Porsche offers. But I needed it to haul around all my gear and a crew of 4 people and be inconspicuous and maybe sleep in during extended shoots? Would you recommend it? Or, if I told you I wanted a 4x4 Chevy truck I saw in a magazine to drive up the winding Pacific Coast Highway in Big Sur with my girlfriend and practice my driving......

That's way I said go to a rental shop, then a retailer and then ask sound pros about what you might actually need. There are so many variables in getting usable audio depending on your **precise** situation.

Anyway, you get the picture.
 
Of course.

You have to use it properly and almost all things have limits, but it works quite well.

There are other factors that go into sound though.
 
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