Lavalier microphones for short filmmaking?
- Thread starter HeyAndy
- Start date
Richard Crowley
Veteran
There are dozens of reasons for using a lav vs. a boom mic.
Just as there are dozens of reasons for using a boom vs. lav.
I wouldn't call either shotgun or lav mics "ordinary" or "normal".
They each have their place. There are good and poor examples of each.
The length of the finished production doesn't seem like a significant factor in making the mic decision.
Certainly entire productions of various lengths have been accomplished with lav mics.
Your question seems too vague to give a comprehensive response.
Just as there are dozens of reasons for using a boom vs. lav.
I wouldn't call either shotgun or lav mics "ordinary" or "normal".
They each have their place. There are good and poor examples of each.
The length of the finished production doesn't seem like a significant factor in making the mic decision.
Certainly entire productions of various lengths have been accomplished with lav mics.
Your question seems too vague to give a comprehensive response.
A mic on a boom/fishpole is going to sound much more natural than a lav. Lav mics tend to sound very flat and lifeless since they are usually placed so close to the source that there's little natural reflection of the room/environment present in the recording. (And they're often embedded in wardrobe, which also absorbs extraneous sound.)
A shotgun isn't always the best choice on a pole, as hypercardioids can be much more effective indoors (and sometimes even outdoors) than a shotgun. Shotguns tend to work better outdoors, though there are some that will behave indoors.
Wired lavs will sound better than lavs plugged into wireless transmitters, due to companding circuits in wireless systems (though there are some companders that sound much better than others... really depends on how high-end the system is). There's an old adage in sound, "Whenever able, use a cable."
Lavs are great for getting sound where the framing may be too wide for a boomed mic to get in close enough for decent results. Lavs are also great for seated interviews where you may want less of the room's characteristics. They have a distinctive sound, and you have to know which sound you want (boomed mic or lav) and why.
A well-stocked audio kit has more than one mic, and usually several available. Shotgun and hyper are the general "beginner" starting points. Lavs come later. But a good kit has a shotgun, a hyper, a few different lavs (different lavs have different purposes and sounds) for both wired and wireless use, and a set of wireless systems. A really good kit also has things like PZM (plate/boundary) mics, a stereo mic or two, and an assortment of cardioids (regular, super, and hyper) and perhaps an omnidirectional or three.
A shotgun isn't always the best choice on a pole, as hypercardioids can be much more effective indoors (and sometimes even outdoors) than a shotgun. Shotguns tend to work better outdoors, though there are some that will behave indoors.
Wired lavs will sound better than lavs plugged into wireless transmitters, due to companding circuits in wireless systems (though there are some companders that sound much better than others... really depends on how high-end the system is). There's an old adage in sound, "Whenever able, use a cable."
Lavs are great for getting sound where the framing may be too wide for a boomed mic to get in close enough for decent results. Lavs are also great for seated interviews where you may want less of the room's characteristics. They have a distinctive sound, and you have to know which sound you want (boomed mic or lav) and why.
A well-stocked audio kit has more than one mic, and usually several available. Shotgun and hyper are the general "beginner" starting points. Lavs come later. But a good kit has a shotgun, a hyper, a few different lavs (different lavs have different purposes and sounds) for both wired and wireless use, and a set of wireless systems. A really good kit also has things like PZM (plate/boundary) mics, a stereo mic or two, and an assortment of cardioids (regular, super, and hyper) and perhaps an omnidirectional or three.
Chadfish
Veteran
All that being said, to answer your question, yes, you can use lavs for the whole production. The reasons would be that you 1. don't have a boom op. 2. You are shooting wider shots. 3. you have many people talking. If you listen to reality shows like survivor or big brother, or about anything out there, they are using lavs. So if you like the sound you hear - go for it. I think it's not going to hurt anything, especially if it's just a little indi. Or better yet do some tests first! Decide for yourself. The Rode PinMic is pretty cool and hides in plain sight. The COS11d is pretty sweet too.
Nice this topic came up, i have exactly the same question.
I seems to my the more 'dryer' sound of the wireless mics would be a big plus, not a negative, right? I've never really heard boom mic sound, though, so it's a bit hard to imagine what it sounds like.
Never thought about lavalier mics 'till i heard people in a making-of talking about it. Always supposed everything was boom. Maybe it's just best to record both and choose later?
I seems to my the more 'dryer' sound of the wireless mics would be a big plus, not a negative, right? I've never really heard boom mic sound, though, so it's a bit hard to imagine what it sounds like.
Never thought about lavalier mics 'till i heard people in a making-of talking about it. Always supposed everything was boom. Maybe it's just best to record both and choose later?
Chadfish
Veteran
I can hear the room I'm in with a lav. Lavs are omni and do pick up some room reflections. YES a hypercardioid on a boom is going to sound better indoors, and a shotgun on a boom is going to sound better outside, but that doesn't mean that lavs will automatically sound bad. I wouldn't suggest using the ME-2 that comes with the Sennheiser G3 though. You still need to put some money into good lavs. A cos11D will run you around 400.00. Rode lavs all cost 250.00. There is no cheap way out.
Chadfish
Veteran
I have the G3 kit, and I use the COS11D (400.00) and I also have the Rode lav, and 2 PinMics (250.00 each). Those are what I suggest. I also use the AT4053b hyper that runs between 430.00 - 500.00. You really should have all the above, but you know best what will get you through now.
I have 3 g3 sets equipped with tram TR-50s and I also have an assortment of Oscar Soundtech. Right, I have found no better bang for the buck than the Oscar Soundtechs. Lately, I find myself grabbing the OST mics even when I have Trams in the box. I find their hf boost cuts thru clothing better than the Trams without sounding harsh. However, there are many who swear by the Sankens.