‘With news, I often felt I was only capturing audio for the image, and being for broadcast, felt more obligated to use the shotguns, to get a more isolated and focus sound of whatever was center frame.’
‘In documentary, I often had closer access to the subjects, and wanted to record conversations and allow some of the world to bleed in more naturally, so a hyper gave a better blend, where whoever the camera was pointed at got the lion’s share of that audio, but someone else just off axis didn’t sound all weird, just more quiet with out being completely cut off either.’
‘‘If you’re basically happy with the 4053, rather than replace it with a similar mic, why not get a different/longer mic, so then you’ll have a couple to use. Basically, the 4053 for “indoors” and something like a short shotgun for “outdoors.” ‘
Thanks to James and Jim for those comments above particularly, although the whole thread has been useful.
It seems like long term I’m looking for two (on-camera) mics - One with minimal off-axis pickup and one with minimal off-axis colouration.
I’ll probably get something like an MKH 50 in the future, precisely for situations like the documentary scenario described above. For now though, I’ve decided to get its more… aggressive sibling for news / broadcast. So presumably this means a shotgun or short shotgun.
I’m most likely going to get the Sanken CS-M1. I’ve read talk about the CS-3e’s ‘reach’. Does this also apply to the CS-M1? It’s a very short interference tube. It there anything else I should be looking at? I’d still consider something like an 8060 - would it be a huge step up from the CS-M1? Or totally different?
I know a lot of people consider it ridiculous to spend so much on on-camera mics (e.g. 8060+MKH 50) but I don’t. I’ve got highly specialised lenses that cost way more than an 8060. And a decent mic could contribute something to every project for the next decade or more.
Requirements:
- On-camera mic with decent isolation (though obviously there are limits to how narrow the pickup pattern should be for an on-camera mic).
- A bit of rear pickup shouldn’t be a problem as rear of mic will point to my chest most of the time.
- Not completely terrible with indoor reflections.
- Excellent humidity tolerance.
- Small size and low handling noise a bonus.
I am unable to test any of these mics, that's why I'm asking here. From comparisons online, the CS-M1 sounds good to me although it lacks the nice warm bottom end of the CS-3e.
‘In documentary, I often had closer access to the subjects, and wanted to record conversations and allow some of the world to bleed in more naturally, so a hyper gave a better blend, where whoever the camera was pointed at got the lion’s share of that audio, but someone else just off axis didn’t sound all weird, just more quiet with out being completely cut off either.’
‘‘If you’re basically happy with the 4053, rather than replace it with a similar mic, why not get a different/longer mic, so then you’ll have a couple to use. Basically, the 4053 for “indoors” and something like a short shotgun for “outdoors.” ‘
Thanks to James and Jim for those comments above particularly, although the whole thread has been useful.
It seems like long term I’m looking for two (on-camera) mics - One with minimal off-axis pickup and one with minimal off-axis colouration.
I’ll probably get something like an MKH 50 in the future, precisely for situations like the documentary scenario described above. For now though, I’ve decided to get its more… aggressive sibling for news / broadcast. So presumably this means a shotgun or short shotgun.
I’m most likely going to get the Sanken CS-M1. I’ve read talk about the CS-3e’s ‘reach’. Does this also apply to the CS-M1? It’s a very short interference tube. It there anything else I should be looking at? I’d still consider something like an 8060 - would it be a huge step up from the CS-M1? Or totally different?
I know a lot of people consider it ridiculous to spend so much on on-camera mics (e.g. 8060+MKH 50) but I don’t. I’ve got highly specialised lenses that cost way more than an 8060. And a decent mic could contribute something to every project for the next decade or more.
Requirements:
- On-camera mic with decent isolation (though obviously there are limits to how narrow the pickup pattern should be for an on-camera mic).
- A bit of rear pickup shouldn’t be a problem as rear of mic will point to my chest most of the time.
- Not completely terrible with indoor reflections.
- Excellent humidity tolerance.
- Small size and low handling noise a bonus.
I am unable to test any of these mics, that's why I'm asking here. From comparisons online, the CS-M1 sounds good to me although it lacks the nice warm bottom end of the CS-3e.
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