standalone recording shotgun mic

M

morgan_moore

Major Contributor
So im enjoying being out and about with my suplight canon r6 setup.

Cycling, jumping in cabs. going to gigs and riots.

Somtimes I would like to pull a vox pop.

Im thinking to shoot from 40cm with a ff28mm

collar bone to forehead.

The situation oculd be noisy.

Over the years Iv had good succes with my sanken shotgun. I find all omni mics to fail to 'reject' ambient noisers.

I cant be sarsed to try and hook a mic into my camera .. Ill synch it later.

So what I want is a 'standalone recording shotgun mic' to hand to the subject.. or grab a reporter to hold the mic just out of shot

I see there is the Zoom F1 shotgun. It seems to fit the bill.

im sacred of the Zoom brand.. i looks fiddly and like it will fall apart and I wont be able to adjust the settings whil wearing gloves!

Maybe the ZoomF1H is what I want.. maybe there is something else. It is 2 which makes it look dated and mean I have to find more wires.

Mahybe zoom h1n.. but that looks to fail the 'rejection' criteria

No wires allowed :)
 
Something like a Saramonic SRVRM1 XLR recorder paired with a short shotgun mic would work, but I'd be concerned about handling noise.
I recall from reviews that the Saramonic had noisy preamps, but it's the only XLR recorder brick which provides phantom power that I can think of.

A Tascam CA-XLR2d gets you a no wires on-camera mic.

I think there were a few on-camera shotgun microphones with built-in audio recorders; the Tascam DR-10SG is the only one I can find with a quick web search.
 
Imamacuser said:
Something like a Saramonic SRVRM1 XLR recorder paired with a short shotgun mic would work, but I'd be concerned about handling noise.
I recall from reviews that the Saramonic had noisy preamps, but it's the only XLR recorder brick which provides phantom power that I can think of.
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I also believe it's discontinued too.
A Tascam CA-XLR2d gets you a no wires on-camera mic.
Click to expand...
I wouldn't recommend that got a lot of bad reviews. https://www.bhphotovideo.com/c/prod...a_xlr2d_c_xlr_microphone_adapter.html/reviews

Get the TASCAM DR-10X
https://www.bhphotovideo.com/c/product/1086779-REG/tascam_dr_10x_dr_10cx_plug_on_micro_linear.html

Paired with a dynamic mic.
The EV RE50B is shock mounted that eliminates handling noise.
https://www.bhphotovideo.com/c/product/76687-REG/Electro_Voice_16501707_RE50_B_Omni_ENG.html
 
After a few years with the NTG2 in the ole dog DVX100B, this was my second microphone in life (link below).

Back in 2013 (I looked up the order on B&H), the idea of a microphone recording internally blew me away and I just had to have it.

From what I remember, this was a very good mic (but perhaps I would think differently revisiting it 10 years later with more experience).

Maybe worth a look: https://www.bhphotovideo.com/c/produ...otgun_mic.html
 
Have you played around with dialogue isolation? It's built into Resolve now. I also use a standalone version called audo.ai. These are so phenomenally good at paring down ambient noise and retaining voice, it might reframe how you view mikes (i.e. favoring shotgun over omni).
 
thanks all.

We see there are 'recording XLR handles' that go with the mic I already own unlike the zoom which requires a proprietry new mic that wont work on other setups.. like a proper two person sitdown.

I could work towards my dream of owning two Sankens.

Clearly I can now see that the zoom is for losers.

THANKS DVXUSER! and members dont dissapear :) :)

So the new spec goes like this..

-must have XLR recorder

-would be nice.. ability to top mount to DSLR and feed noise into camera

Ill read on... the DR10x is the current leader.

--

CP yes I need to check that .. the doc im working on has some poor audio (from other sources) and I was thinking to try a clean.

Usualy my own audio is crispy.. but if it means my on camera roade vid mic is enough.. we that would save money and synch times and mass in the bag!

--

So the DR10x.. I wonder if there is something a little more modern.. it seems that there is no meters showing when recording :(
 
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Yes, these new tools thanks to AI are nothing short of dazzling...what used to require a thorough understanding of pro audio tools and quite a bit of work is now bested by a simple on-off switch and effect slider. After introducing this to my post sound editor a year and a half ago, he told me that he approaches his location corporate shoots now totally differently, knowing that he can eliminate significant background noise instantly (i.e. gives approval to shooting locations with noisy fans etc that he would have otherwise flagged).

Audo.ai is still my preferred version, I just tested it against the Resolve version last fall and the last 10-15% of nuance is the only difference--comes down to subtle mouth noises and overall sound quality, but fairly subtle. Audo offers a free level with 20 minute per month, so it's easy to give it a try. This was the test clip I did that convinced me of the viability, shot at a bar with loud refrigerators that we couldn't shut off. This was 1.5 yrs ago, so it has even improved since.

https://www.dropbox.com/s/c22hdd03aq6zkt2/bar none audio test 2.mov?dl=0
 
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I bought the Sony UWP kit this week that includes a XLR transmitter for exactly the same reason. I occasionally film events where I need to get reactions from people and it's hard to beat the hand held dynamic mic for getting usable audio in loud crowded venues or street style interviews. There's a reason why reporters us them. The XLR transmitter provides phantom power so you can use it on a boom pole for interviews with cardio mics.

https://www.bhphotovideo.com/c/produ...ess_combo.html

The other option I was considering was the Rode Go II or DJI. Rode sells a hand held transmitter holder that you can insert one of the transmitters and clip the other one on to you that way you can get both the question and answer.
https://www.bhphotovideo.com/c/produ..._handheld.html


Another company sells collapsible one if you need more portability.

So the advantage is it's small, light, easy to use, goes straight into camera and comes with two transmitters. The cons: 2.4ghz, plastic, audio quality is lower, and you don't get the dynamic mic durability and noise rejection.
 
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The sony doesnt record i assume.

i have a sony radio mic but don't want to have a reciever on the camera.

the go doesnt record either?

Im also a fan of aa and aaa
 
The Sony is only a transmitter it doesn't record.

Both DJI and Rode wireless systems transmit and record simultaneously. If you only want the transmitter to record you can do that too. Although I find the time dealing with importing the audio separately syncing multiple sound bites in post a lot of work. I like the convenience of it embedded in the video. You interview 10 people who you don't know their names, film a couple of takes, start and stop the camera and leave the recorder going, you don't get to editing it weeks later it can devolve into a mess quickly.
 
The only concern is handing a very directional mic to the person speaking - all the shotguns of the Sennheiser 416 length need accurate aiming. Omnis do collect everything, but that's why reporter mics tend to be omni and have a long handle. they don't need aiming, just getting close in to their mouths - which the long handle makes easy. Shotguns, ALWAYS need somebody to control them and keep them aimed at people's lips - even the mistakes beginners make with aiming wreck recordings - and to do it properly needs headphones so you can assess what you are recording - keep in mind that if the aim is off, the mic will be capturing what it actually is pointing at. Cars, machinery, birds and other annoying things.
 
good points.

I know im 'pushing it' - a desire to have a riot proof setup that moves easy on a cycle.

Looks cool, gathers great audio etc

It is an ask :)

S
 
watching this..

1) I did not think any chat would be recorded.. but one chap had a little chat.

I got that with the cheapo rode stuck to my camera.

https://www.youtube.com/watch?v=FnbHssAfDfo

As audio interviews are not being planned but sometimes 'pop up' maybe I should 'insure' my self and just up my DsLr game..

1) take headphones/earbuds
2) buy a 1.5m extension cable
3)consider some form of hotshoe handle so I can hand the mic off to a 'boom operator' (in this case a reporter had shown his face)

4) if no 'boom operator' is available.. get right in with the top mic fill the frame at 24mm this put the subject at 18in from the mic or closer

5)consider a better 'dslr' mic.. rode video mic pro ??

6) consider the old powered RVM in my attic

I am convinced I dont want a 'top box' or the tacam under camera box as they are to big and annoying.


It should be noted that on 'bigger' jobs I have sanken, XLR cameras, even a SD702 recorder :)
 
thanks interesting to see.

Probably not but thanks. It hard to describe the fluidity Im tryin to acheive.

I think best I set myself up for 'emergencies' or do it propery

S
 
I use a Rode Reporter mic https://rode.com/en/microphones/broadcast/reporter into one of these Sennheiser Transmitters https://www.canford.co.uk/Products/...IC-TRANSMITTER-Plug-on-606-648MHz-Ch-38-ready but looking for the link I found this https://www.sennheiser.com/en-gb/catalog/products/wireless-systems/ew-d-skp/ew-dp-skp-r1-6-700081 which appears to record as well as transmit. This would let you either transmit to the camera or record in the device.

Reporter mics, as noted are omni's but designed to work in a noisy environment. Idea for your use. The interviewee can hold the microphone without worrying about pointing it in the right direction. They also work if it is a two person interview.
 
Hi, thanks for this.

I dont want to send to (this) camera or embugger it with receiver boxes or wires (I have sony tx/rx if I wanted to do that.) so the SENNHEISER 504667 is not good to me.



The EW-DP SKP seems close to perfect.
-records
-nice formfactor
-good battery options
-works with my XLR 48v mics
-could go on larger jobs if I bought a receiver (on a wireless boom.. very nice)
-established brand
-seems like some sort of phone app

-just I think missing a HF jack. I suppose as operator I (or reporter) could have receiver and HF on my body for some ($$$)

https://www.youtube.com/watch?v=pcHj7hIGHOU
 
I have found the problem.

morgan_moore said:
I can't be arsed to try and hook a mic into my camera … I'll synch it later.
Click to expand...

Audio is more important than video. You need to be arsed about the audio.

This why cameras aimed more at journalism and documentary normally have two XLR audio inputs, Things like the EW-DP SKP exist so you can record good audio directly from a reporter mike to the camera. Devices like the EW-DP SKP having the ability to store audio internally is a new(ish) thing. Rode also do a set of record and Tx lavs.

However, unless there is time code on both the audio and video devices, it will be time-consuming "fun" to synch them up.
 
JAMedia said:
I have found the problem. Audio is more important than video. You need to be arsed about the audio.
Click to expand...

This is a good point and in theory it is true.

What I have found is that some 'modern' work, that the client is not wanting audio and having a 'big rig' just slows one down, well they think they dont want any audio (I might personally disagree because Im big on ambient sound to build a world.. but im not the client!)

So in this 'build' im not caring deeply about audio.. just shooting pretty visuals with a mirorless at 50p.

The Broll one could say.

But you go out to do your Broll and .. 'the CEO would like to say a few words' or you meet someone with something to say.

At this point you can..

1) tell the CEO the commission did not cover audio

2) pull out your recording mic, find somewhere quietish, and get his chat in the can..

Yes synch in post is annoying but that is life it was only two takes of 50.

Better than carting ND XLR cine cam, boom pole and big fully around. Other jobs I will have my XLR-ND cinecam and boom pole, cstand ap600 and van.. or get a soundie onboard :)
 
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