shockmount AND a softie?

chris f

chris f

Veteran
I am getting ready to start production on a documentary on the homeless downtown where I live. I will be the only crew member and besides the camera (I will be using my DVX100a) I know that the audio will be the most important thing since most of the documentary will be shot outside, downtown on busy streets. I've been researching the audio forums for quite some time now, and for my limited budget it seems that the Rode NTG1 will be the best mic for me to mount on camera. I've never used a mic mounted on camera and was wandering if I need a softie mount and a shockmount, or just one or the other? It seems that the term "softie" refers to mounts and windshields so I didn't know if I need both mounts or one mount and a windshield? If someone can help me out or has any further suggestions I would appreciate it.
 
You'll need some sort of mic suspension if you don't want to pick up handling noise on the camera.
Though, you might still pick up the tape mechanism since the mic will still be pretty close the the camera.
 
Rode has a shockmount for cameras, not too expencieve either. It works, but you would still get some tape mechanism and zoom sounds unless you are taping something really loud. A side handle like Mini Rover takes the mic further away from the camera and is a better solution for on-camera mic work.
 
Yes, ideally you should have a shockmount AND a softie. The shockmount kills handling noise, the Softie kills wind noise. Two different tools for two different problems.

-vic
 
I will just throw in the requisite; "you need to get the mic off the camera" post. I realize that throws a wrench in your plans to be a one man band but if you recognize the importance of audio then that is the natural next step. You don't have to hire a pro or anything but simply use a buddy to hold the pole or wire the lav.

Good luck
 
what about HVX tapeless on-camera NTG-1... would the tape mechanism be the only reason to "need" to get it off the camera or would the zoom servos pose a problem... I realize they are right below the mic so I expect a yes as the anwer so let me get ahead and ask this, how big of a problem... I apologize but I don't get it till the 4th and I can't wait to test it out, till then all I got is asking questions
 
The main reason not to have the mic on camera is tha quality of sound you would be getting, or missing. Mic should generally be as close to the sound source as possible and most of the time that would be much closer the subject than the camera. Also a mic fixed on camera will always point the same way, which sometimes is not optimal (like when you talent is talking and you want to turn the camera to show what he/she is looking at). Camera and handlind noices are another reason you want the mic away from the camera.

There are four one man band solutions:

- On-camera mic, suspended as well as possible
- Side handle like Mini-Rover, which places the mic about 6 inches to the left side of the camera, no camera noice but other on-camera mic restrictions apply.
- Shoot with one hand, hold mic in another. Better sound, but makes camera adjustement next to impossible (have to run full auto). More things to remember and do at one time for the operator.
- Use radio mic(s) for talent(s), pick ambience with on-camera mic. Complicated to set up, need radio mics.

I have used solutions 2-4 when I have shot solo.
 
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I plan on using light/boom stands to place the mic overhead as if being boomed by a person. However this really is only ideal for unmoving shots, interviews etc
 
USLatin, Petrus answered already but I will reiterate and expound some points.

First, inverse square rule: the sound level drops 6db for every doubling of the distance from source. Conversely, everytime you half the distance to the source you gain 6db in signal to noise.

A typical interview camera position is usually around 5 to 6 feet. A well placed boom or lav gets you to under two feet. That gets you anywere from 6 to 12db increase in signal. In a noisy environment that is HUGE.

Second, using your shotgun on camera defeats 50% of the off axis rejection. Assuming you have your on camera mic pointed at the subjects mouth, you also are pointing the mic at EVERYTHING behind the subject. The off-axis rejection is primarily rejecting sound from your left and right...and ABOVE AND BELOW the on camera mic. Above and below are not generally your problems.

When you use a shotgun in it's "proper" vertical position, the off-axis rejections is working in 360 degree horizonal field. The directions your noise is usually coming from.

Hope that helps you
 
wabbit said:
When you use a shotgun in it's "proper" vertical position, the off-axis rejections is working in 360 degree horizonal field. The directions your noise is usually coming from.
Hope that helps you
Click to expand...

got it... I see boom operators working almost every day and I understand the pic up pattern of a shotgun mic... but it is so nice to hear it put that way
 
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