What Can I Expect from my equipment? (HV30, Rode VideoMic)

[DanielRutterFilms]

Hello;

It's been quiet a few weeks since I've posted here, and since my last few posts (I asked about the HV30, and if it was worth it) I've purchased some equipment.
I've decided to buy the Canon HV30, but I've been warned against the onboard mic. I want the best audio from my movies as well as the video... so I'm now shopping for a mic. I've already spent the farm on the camera, so I don't really have the coin to buy a highend mic... besides, I'm only making short films... so I'll buy a mid-range mic and save the chips. I came across the Rode VideoMic, which is in my price range. This mic seems to be alright for what I want.

What exactly can I expect from this setup? I don't want "hollywood" quality, just something that compares with the quality other fimmakers use at the film festivals.

Also, as the VideoMic is a shotgun mic... what is the best way to use this mic so I can get the best possible sound from it?

Thanks;
Daniel

 

[Alcove Audio]

The Rode VideoMic as at the lowest end of low budget mics. A mid-priced mic is between $500 and $1k.

You would be much better off renting what you need - better quality and not having to upgrade in the future.

Here is a short list of some popular shotgun mics:

Audio-Technica AT897 - $240

Rode NTG-2 - $270

Sennheiser ME66/K6P - $500

Audio-Technica AT4073A - $600

Rode NTG-3 - $700

Sennheiser MKH-416 - $1200

Neumann KMR82I - $1700

Schoeps CMIT5U - $2000

You will also need a boom pole, shock mount and wind protection (blimp & dead cat). Most of the mics below can be purchased as a kit with the mentioned accessories.


Also consider that you should have a non-shotgun condenser mic for indoor usage. If using the camera to record sound it is recommended that you also get a mixer so you can bypass the cameras mic preamps.


By no means completely comprehensive, but here are a few articles about production sound mics:

http://filmmakeriq.com/production/au...icrophone.html

http://www.kenstone.net/fcp_homepage..._brockett.html

http://www.lafcpug.org/reviews/review_shotgun_mic.html

http://www.dvcreators.net/shotgun-shootout/

http://www.dvfreelancer.com/articles...l#OktavaMCO-12

 

[indietalk]

Rent, rent, rent! So many filmmakers see this as throwing money away because they don't end up with something tangible. What you are "renting" is good sound, not equipment. It's an investment in your film as a whole. Would you rather have a finished film with festival quality sound, or bad/mediocre sound and a mic in a case

Good luck!

 

[directorik]

Hello;
I've already spent the farm on the camera, so I don't really have the coin to buy a highend mic... besides, I'm only making short films... so I'll buy a mid-range mic and save the chips.

Quite typical. Most beginning filmmakers spend all their money on
a camera and hope that a cheap mic will be usable. Then their
audio isn’t very good and their movie suffers.

But I understand where you’re coming from Daniel. I’m not an
advocate of renting - not at your level. Owning a camera, a
tripod, a mic and a few lights is (in my opinion) a great thing.

What exactly can I expect from this setup? I don't want "hollywood" quality, just something that compares with the quality other fimmakers use at the film festivals.

What you can expect from your equipment is limited to your
experience level and skill. The equipment is only as good as the
user. Having top of the line canvas and a full compliment of oil
paints and brushes does not make you a fine painter. So use what
you have to learn. Each movie you make you will get better. And
very soon - if you make a short film at least once a month) - you
will learn the skills to get a very professional looking movie.

What film festivals have you gone to?

Also, as the VideoMic is a shotgun mic... what is the best way to use this mic so I can get the best possible sound from it?

Get the mic as close to the actors as you can. Use head phones to
listen carefully to the audio you are recording. Learn to use the
boom properly - don't just set it in roughly the proper direction
and hope to pick up everything.

 

[indietalk]

If you want to buy you can buy one piece at a time and rent the rest, this way you have quality. Each production buy another sound item, rent one less. Whatever you do, keep the quality up and only let the experienced handle your sound.

 

[Brooksy]

I personally am very opposed to renting equipment. However I am even more opposed to watching my pieces lack and not being 100% percent satisfied with my product. What to do? Well, what I would do in your case is set out on a search for an audio person who has the equipment and the know how. Look for someone who wants to make movies because they love it, not because they want to get paid for it. This way you don't have to rent equipment, you can take one more hat off your head on your shoots, and your pieces will be that much better. Just my opinion but that is what I would look into. Good luck and let us know what you decide on.

 

[indietalk]

I personally am very opposed to renting equipment. However I am even more opposed to watching my pieces lack and not being 100% percent satisfied with my product. What to do? Well, what I would do in your case is set out on a search for an audio person who has the equipment and the know how. Look for someone who wants to make movies because they love it, not because they want to get paid for it. This way you don't have to rent equipment, you can take one more hat off your head on your shoots, and your pieces will be that much better. Just my opinion but that is what I would look into. Good luck and let us know what you decide on.

Well, that's also what I meant by renting. Equipment or hire a sound mixer with equipment. You are still renting, it's in the fee. Kit rental. If you are making a serious short for festivals and you can afford this, do it.

Look for someone who wants to make movies because they love it, not because they want to get paid for it. This way you don't have to rent equipment, you can take one more hat off your head on your shoots, and your pieces will be that much better. Just my opinion but that is what I would look into. Good luck and let us know what you decide on.

There's absolutely nothing wrong with a professional sound mixer that does this for a living. I really doubt sound mixers are out there doing this for free because of the love! This kind of comment always strikes me as strange. It's like people should feel guilty for making a living.

 

[Brooksy]

I am not saying don't make a living. By all means charge people for your services, I certainly do. I am a freelancer and have to pay the bills in some way, shape, or form. But it is really hard to find jobs working on actual movies or shorts, at least for me. If you can find those jobs great more power to you. Around my neck of the woods the only work I get is corporate work and commercial work that will pay. Most people making their first feature and/or working on a short don't have much of a budget for crew, if any at all. I personally believe in helping on movie sets because it is what I love and I'm still building up my resume. I may never stop. Besides I would rather see, what little budget a person has, spent on props and equipment for the long run, maybe even a set/location. The point is that I believe in donating my time on narrative pieces because I love it and it is what I want to do with my life. I get great experience and meet awesome people. That's pay enough for me.

Again I am not saying that you shouldn't charge for your services. I charge. I make a living gaffing and shooting for clients. However, I think in Daniel's case he may want to search for someone who wants to help free charge just to see if there is a person out there to partner with him. Maybe there isn't but it doesn't hurt to try.