shockmount for oktava mk012 mounted on canon t3i

1) don't mount it on your camera
2) don't mount it on your camera
3) don't mount it on your camera
4) don't mount it on your camera
5) don't mount it on your camera

Seriously. WHY? You can't even power the mic with your camera without phantom power.
There are many better choices for an on camera mic if you MUST go that way.

Buy yourself a Rycote INV-7 and put it on a boom!!
 
patrickbaldwin said:
How is he supposed to boom it if he's on his own? Please explain how he films and follows a subject with a camera in one hand and a boom in the other?
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Camera on tripod. Him on boom ;-)

I've done this before.

Or a boom on a C stand. Done this many times too.

But seriously, if you have any aspirations of quality he should be trying to get the crew behind it a film needs.

Or if he isn't doing that, but some other style of shooting then get lavs and/or VMP. An Oktava on a Canon Rebel DSLR simply is not the right tool for the job here.
 
And what if he is a OMB and following people around as I suggested he might be? How does a boom on a C stand work then? What if he only has that mic? What if he doesn't own any wireless or lavs? The OP stated that he knows what he is asking about is not good practice. I'm sure he does aspire to a bigger crew etc but in the meantime....
I'm making a documentary about an amateur theatre company's 10th anniversary. The film is being shot throughout the year. Nobody is being paid. When I do my sit down interviews they will be mic'd using one of my Oktavas on a boom into my sound Devices 722. Or I may use my NTG3 depending on my location. They are my only two mic choices. But...the rest of the time I am following anything up to 12 different people all over a theatre. Not only do they not have the time to be laved up, they don't really want to be and I only have two channels of wireless so of course I have a camera mounted mic. There is no alternative. I know it's not optimum but it's that or no sound.
Its too easy to tell somebody what they are doing is wrong. This poster even knows that but gets told anyway.
I just don't think it's very helpful.
 
What if...
What if...
What if...

Well we don't know do we?

The OP needs to give as many detailed specifics as possible if he wants a tailored response.

In the absence of this knowledge I proposed various better solutions which would work well for a wide range of scenarios.

If he comes back with more info, then I could further refine my advice to something more specific which works for him.

And you're doing it exactly how I'd probably recommend for your scenario, you are *NOT* using a camera mounted mic when you don't need to it (and know what you can do instead for those other times for better audio), and thus only using a camera mounted mic when you *must*.

I mean, even if he is needing to *ONLY* shoot with an on camera mic then still there are surely better options than using an Oktava on his DSRL!

As heck, for the less than cost of a decent shock mount for it plus a phantom power supply you could easily just outright buy a Rode VideoMic!!

https://www.ebay.com/itm/Rode-Video...c-Returns-accepted-Free-shipping/273318962756

And there are non-Rode brands out there which are even cheaper which might work for him.
 
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I don't recommend using an Octava MK012 as an on-camera mic.

That being said, I would suggest a Rycote mount to help isolate the handling noise which will stick out like a sore thumb using this mic mounted to your T3i. https://rycote.com

I would also suggest using a Rycote Baby Ball Gag with dead cat, as the mic will pick up wind noise from simple movement. From memory it is the 20mm mount version.

I would also suggest using a short thin XLR cable like Mogami 2697 to connect your mic to whatever you are using to provide phantom power, to help avoid handling transmission noise from the cable.

In addition I would suggest using the Oktava mk012 low-cut filter.

By the time you spend the cash for these extras for this mic, you could have purchased a proper nat sound mic for on-camera.

All the Best!

Dave
 
The Oktava mics transmit a lot of handling noise, so it wouldn't be my first choice for a camera-mounted mic. Also, with the typical hypercardioid (or so) capsule that comes with the 012, the pickup pattern might be a bit wider and shorter than you'd want. Also, you'd need to power the mic, right? Frankly, I'd probably go for a Rode mic designed to be stuck on a camera (and that comes with a built-in shock mount), or maybe that Audio-Technica mic that a lot of people around here like, the AT875R: https://www.audio-technica.com/cms/wired_mics/cae8c23cfe000574/index.html

As for that Auray shock mount you link to, it's basically a knockoff of other mounts and it's probably OK, but not great. Make sure you can get (or can fashion) replacement bands if those are too taut to isolate your mic, when they break, etc. Note that with minimal care, they probably won't break for a few years. I --think-- it's short enough to work with your Oktava (note that I have a couple Oktavas, but don't use them much and don't use them with that style mount, so I'll defer to others).

Next step up would probably be an InVision mount from Rycote (I use those with my expensive microphones and like them a lot). But with mount and adapter, you're probably talking about $100. http://mymic.rycote.com/producttypes/invision-video/?typeid=11&familyid=80

And for that price, you could get a Rode mic designed to be used on a camera and that includes a mount similar to a Rycote Lyre (I think Rode licenses the design and makes them themselves...but they seem decent): http://www.rode.com/microphones/video

But the Auray is cheap... maybe there's a shorter version that'd be better for your Oktava (if you can solve the powering issue).

I'm rambling. Hope you find a good and cheap solution! And let us know what ends up working for you!
 
Yes I have used it.

Any noise induced by it will still be much less than the low end thumps picked up by this mic mounted to a camera.



Heck, I have a Sennheiser ME66/K6 that I would let go for a good price if someone was wanting a Nat -Sound mic.
 
The Rycote Invison 7 works good with the infamous handling/wind noise prone Oktava.
Not a good mic for outside though, on a boom OR camera.
 
The arguments that a proper crew is the only real choice and “never to put the mic on the camera” are short-sighted. We’ve run in circles on camera-mounted mics on these boards, and again it comes down to understanding circumstance. It’s not a matter of “never do it”, but rather a matter of “understand when and why this might make sense”. Just like the pre-amp discussion, we have to look at best attainable sound vs. best practical sound.

Sure, hiring a proper crew is the best possible way to capture sound, but what about folks who do shoot OMB stuff and don’t have any budget to hire out? What about folks who are shooting more news-style or followdoc material where nats captured by a camera mic are a frequently-used element in sound? I’ve being doing production sound for film and TV for well over 20 years, post-production sound for well over 15, and I still find use for camera nats in many projects. It’s all about the circumstances and what gets the best sound for that particular need.

Julien, since you already know the shortcomings of camera-mounted mics and you are still finding times when you need it, here are the things to consider, some of which have already been mentioned:

The Oktava MK012 is simply a poor choice to put on a camera. Between its notorious handling sensitivity and the wider pickup pattern, it’s just not a good fit in this application.

Because you’re shooting on a Canon T3i, you don’t have a phantom power supply to make the MK012 work. Even if that was a good mic to put on a camera, this pretty much rules it out anyway without some bulky add-ons.

The pre-amps in the T3i are pretty lousy and you’ll need a fairly hot signal feeding the camera to try and minimize any noise that will happen there.

Your best bet is a RØDE VideoMic Pro. It has a hot signal with a +20dB boost that can help with noisy DSLR pre-amps. It’s self-powered with an internal 9V battery, and has an integrated shoe-mounted lyre suspension. This is pretty much an essential tool to have in a DSLR kit anyway (or with any camera that takes 1/8” TRS input). Keep it parked on the camera and you always have it for nats and for a better scratch track if you’re running a second system. That leaves your MK012 ready to be placed on a boom when you need it. And be sure to get the deadcat with it, for mild wind protection.
 
Thank you all for your comments. I highly appreciate.

I use a t3i and i feed an audio signal with a TASCAM DR70. I plug a oktava mk012 in the tascam.
I don't want to use a rodevideomic, i already try it on a dslr and i don't appreciate the sound.

I will use a Rycote Invision shockmount it's a good idea).

For on-cam audio, it would be a good idea in investing in a at875r.
I might use my oktava on a boompole.

I was wondering about which windshield i should buy.
https://www.bhphotovideo.com/c/product/1356418-REG/rycote_039710_baseball_baseball_windjammer.html (this is a windscreen and windjammer for 75$)

This is the windjammer and windscreen bought separately (are they better quality?)
https://www.bhphotovideo.com/c/product/322363-REG/Rycote_011001_Baby_Ball_Gag_Windshield.html (120$)
https://www.bhphotovideo.com/c/product/322367-REG/Rycote_021801_Windjammer_for_Baby_Ball.html (65$)

Thanks,
 
deleuze3 said:
Thank you all for your comments. I highly appreciate.

I use a t3i and i feed an audio signal with a TASCAM DR70. I plug a oktava mk012 in the tascam.
I don't want to use a rodevideomic, i already try it on a dslr and i don't appreciate the sound.
Click to expand...

Anything mounted on the camera is not going to sound great.

The Rycote Baby Ball Gag (which is kinda like a mini blimp) with a windjammer will provide greater wind protection than a Baseball would
 
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