Looking for a DSLR sound recorder
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You might also look at the rode Videomic line, but I don't believe they include a recorder. However, for that money, you could get a separate mic and recorder which might serve you better mostly because of ergonomics. You should read the audio section stickies as that has a wealth of info for sound on the cheap. As well, there was a thread started recently by tinpanalley which discusses dslr audio on the cheap.
You didn't state what you intend to record, or how, but if you intend to camera mount a unit like this, you are nearly guaranteed a poor result. Ok, let the fun begin.
Grant
You didn't state what you intend to record, or how, but if you intend to camera mount a unit like this, you are nearly guaranteed a poor result. Ok, let the fun begin.
Grant
What do you mean by that ? What I intent to record mostly are events like weddings & musicals/dances shows. I always have a zoom N4H ready to record when there are already microphones or DJs (I plug the device to the control panel), and I have a couple zoom h1 with audio technica lavaliers.
I'll check that out, thanks.
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The mic you mentioned, or any mic, even those costing thousands, will not record good audio when over 2-3 feet absolute maximum from the source. You will have to use excessive gain and your background noise will increase. I know weddings present a challenge to this, but it is the reality.
Grant
Edit: music excepted
Grant
Edit: music excepted
Ok, yeah, that's true. No problem with that. All I need is a good on board sound with monitoring audio (without cluttering the camera itself) and for synchronisation purposes, especially with the GH2. Which is why I like the shure, but the price is a bit too high. That's why I'm asking if there are other devices similar to this one, but less expensieve. But thanks for your input. Anybod else ?
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If you're looking only for an on-camera mic for better reference audio to sync to other sources, there's no need for the mic to have a built-in recorder. The RØDE VideoMic Pro is a good solution, with the original VideoMic being less expensive, and the VideoMic Go being the least expensive of the three.
As for being able to monitor sound during recording. It is MUCH more important that you're able to listen to your primary audio recorder as opposed to the camera's scratch track.
That is a function of the camera, not the mic. Some cameras (most consumer camcorders, many DSLRs) do not offer manual audio level control.
Steve House
Veteran
If all you're recording in the camera, with an on-camera mic, is a scratch track to aid in syncing the real track with the video, why do you need to have headphone monitoring on it at all? The track you need to monitor is the one that will be used in the final production, not a scratch track that will be discarded after the production recording is sync'ed up. It's the recordimg made with the separate audio recorder that you need to monitor.
True. But as a backup and fill/room sound, I will also record the audio on camera by using a dslr mike. All audio parts are important. The more directed sound will be recorded by using other devices (zoom h1 with lavaliers & zoom h4n for sound panel/DG bord when avalaible). That's why I need to record the sound on cam and monitor it. Sorry if I wasn't clear the first time.
Noiz2
Sound Ninja
At the risk of making one of "those posts" I think you are trying to solve a problem that really doesn't/ shouldn't exist.
IE your asking the wrong question.
You should really talk to a sound person, hopefully one with some post experience, and tell them what you want to end up with and then work out what you need to get there.
You have come up with a workflow that no sound person would endorse so it's going to be hard for any to answer your question in a meaningful way.
You have wildly different sources heading in to post. They will not cut together well. You can't smoothly fill in holes from stereo plant mics with sound from a mono camera mounted mic. You are not monitoring your primary sound, a recipe for disaster. Tying into mix boards is problematic at best so that is???
Now all the above could work depending on what your end target is. Maybe wildly mismatched sound cuts are part of the style of the pieces, etc.
Maybe the idea is to just get whatever and toss it all in?
But most folks responding are going to assume you want something that will cut together smoothly and will have clean primary sound. And those folks are going to tell you to forget monitoring the camera since that is mostly a tosser for sync. If you need coverage then stick another stereo handheld someplace. They will also tell you you NEED to be monitoring your primary sound. And generally avoiding connecting to a house sound system if at all possible.
They will also point out that any camera mounted mic is going to mostly suck. What you are using it for though is pretty much all they are good for except in your face interviews. And they all will pick up camera noise and camera operator noise, so they are often not so good at the one thing they do do well.
So you are kind of asking a question like "what's the best car to drive 60MPH in backwards?" And people are saying "it's not good to drive a car 60MPH backwards".
You may have a great reason to go backwards at 60MPH, but it's hard for folks to give you advice on how to do it with out feeling they are helping you do something that will end badly.
Not saying you can't or even shouldn't, just that you might want to talk to someone to find out if you really need to.
IE your asking the wrong question.
You should really talk to a sound person, hopefully one with some post experience, and tell them what you want to end up with and then work out what you need to get there.
You have come up with a workflow that no sound person would endorse so it's going to be hard for any to answer your question in a meaningful way.
You have wildly different sources heading in to post. They will not cut together well. You can't smoothly fill in holes from stereo plant mics with sound from a mono camera mounted mic. You are not monitoring your primary sound, a recipe for disaster. Tying into mix boards is problematic at best so that is???
Now all the above could work depending on what your end target is. Maybe wildly mismatched sound cuts are part of the style of the pieces, etc.
Maybe the idea is to just get whatever and toss it all in?
But most folks responding are going to assume you want something that will cut together smoothly and will have clean primary sound. And those folks are going to tell you to forget monitoring the camera since that is mostly a tosser for sync. If you need coverage then stick another stereo handheld someplace. They will also tell you you NEED to be monitoring your primary sound. And generally avoiding connecting to a house sound system if at all possible.
They will also point out that any camera mounted mic is going to mostly suck. What you are using it for though is pretty much all they are good for except in your face interviews. And they all will pick up camera noise and camera operator noise, so they are often not so good at the one thing they do do well.
So you are kind of asking a question like "what's the best car to drive 60MPH in backwards?" And people are saying "it's not good to drive a car 60MPH backwards".
You may have a great reason to go backwards at 60MPH, but it's hard for folks to give you advice on how to do it with out feeling they are helping you do something that will end badly.
Not saying you can't or even shouldn't, just that you might want to talk to someone to find out if you really need to.