Hello fellow indietalk.com forums contributors! I am looking for a good quality microphone to capture audio for short films (Dialouge, some ambient, a little foley work) and was wondering if any of you have any suggestions. Perhaps a shotgun microphone? I will be using it with a Canon XH-A1 so I'm guessing XLR inputs are standard. Thanks for your help!
Good Microphone for Short Films
- Thread starter AlexManni
- Start date
http://aus.rodemic.com/microphone.php?product=NTG-1
the NTG-1 should be more then enough to suit your needs, it's worth taking a look at the NTG-2 and NTG-3 if you want to pay higher
the NTG-1 should be more then enough to suit your needs, it's worth taking a look at the NTG-2 and NTG-3 if you want to pay higher
- Audio Technica AT897
- Audio Technica AT8035 (longer than the 897, better for wider shots, since it is more directional it can be further away...)
- Audio Technica AT815b
- Azden Sgm-2x
And if you've got more money to spend...
- Shure SM89
- Sennheiser K6 along with the ME66 or ME67 capsule. Preferably the 67 as it's more directional, but better yet get both!
Other things you'll want to invest in would be a nice boom pole like the Gitzo (and don't forget the shockmount) Also a nice furry windscreen (like this... these can be made pretty easily with some very minor sewing ability & a bit of faux fur) You may also want to consider investing in a wireless lavalier mic, but that's more luxury than necessity more often than not. And, if you think you'll be doing any voice-over work, or ADR, a nice large diaphragm condenser mic can't be beat... I've got an AKG Perception 100, (I think, I forget if it's the 100 or another model, but it's a GREAT mic...)
Zoom H-2 and H-4
I had great success this past summer on the 48 Hour Film Project - Detroit using a Zoom H4 to capture sound which we later synced up in editing (using the clap from the slate). We were able to conceal the unit itself with its excellent on-board mics in closeups with the actors. Then later we attached a boom mic to it rather than to the camera. Everything was recorded and logged on an SD card. It adds an old-fashioned step to filmmaking but the added versatility of capturing audio anywhere on any set was more than enough justification. You could even attach two concealed lavaliere microphones at once. Of course you'll need a dedicated sound recordist as part of your crew. It was an experiment, but it paid off...
http://zoomh4.net
I had great success this past summer on the 48 Hour Film Project - Detroit using a Zoom H4 to capture sound which we later synced up in editing (using the clap from the slate). We were able to conceal the unit itself with its excellent on-board mics in closeups with the actors. Then later we attached a boom mic to it rather than to the camera. Everything was recorded and logged on an SD card. It adds an old-fashioned step to filmmaking but the added versatility of capturing audio anywhere on any set was more than enough justification. You could even attach two concealed lavaliere microphones at once. Of course you'll need a dedicated sound recordist as part of your crew. It was an experiment, but it paid off...
http://zoomh4.net
ok im look at the K6/ME67 WITH boom pole and shock mount so where is the actual mic cuz all it seems like is capsules and powersource shown in the links
The capsule is the mic, but it won't work without the K6 powersource. The reason they do it this way is so that you can use the same power unit with either a longer or shorter capsule, depending on your needs for that particular shot/situation. and it's as easy as unscrewing and swapping them to switch back and forth.. ultimately more cost effective than paying for two full units that each have their own dedicated power unit, etc..
thanks will
just wanted to be clear about that im a beginner with no experience im just reading up taking notes and getting prepared for when i decided dive in by buying a equipment and filming so i want to know as much as i can b 4 hand
just wanted to be clear about that im a beginner with no experience im just reading up taking notes and getting prepared for when i decided dive in by buying a equipment and filming so i want to know as much as i can b 4 hand
No problem.. that's why we're all here. 
Thanks for this thread. So far, I have an AT-822 and a K-Tek KE-110CCR Avalon Series Aluminum Boompole with Internal Coiled XLR Cable. I also have a Sony Hi-md RH1.
The cameras I was using were a Sony HC1 and a Canon XH-A1, but a fire at my house happened recently and both of the cameras are dead now and I need to replace them. Once I replace them, I'll be figuring out my next moves with audio.
The cameras I was using were a Sony HC1 and a Canon XH-A1, but a fire at my house happened recently and both of the cameras are dead now and I need to replace them. Once I replace them, I'll be figuring out my next moves with audio.
How important is having a professional boom pole?
I mean, I have a DIY boom pole, and I think it's good for its purpose. Am I missing out on something incredible by not paying 200 dollars for a pro one?
I mean, I have a DIY boom pole, and I think it's good for its purpose. Am I missing out on something incredible by not paying 200 dollars for a pro one?
i cant make a sugest a Mic unless i know if you are shooting indoors or outdoors...and all the mics that i have read in this post are very tinny sounding mics and lac real quality warm sound...
using a shotgun mic indoors is always a bad idea in most cases..a simple hyper cardiod will do and for outdoors if its a wide shot...unless you have an 816 and a quite location...wires are the only way to go till you move in for Med and CU shots..then you can go back to the pole.
if you are not shooting films all the time and this is a once a year kind of thing..i would rent a very good mic and pole setup...indoors i would use a Schoeps with a 41 head on it and for outdoors maybe something in a Sennheiser MKH70 with a Zeplin...
one mic cant do everything and always think of getting your dialoge clean
using a shotgun mic indoors is always a bad idea in most cases..a simple hyper cardiod will do and for outdoors if its a wide shot...unless you have an 816 and a quite location...wires are the only way to go till you move in for Med and CU shots..then you can go back to the pole.
if you are not shooting films all the time and this is a once a year kind of thing..i would rent a very good mic and pole setup...indoors i would use a Schoeps with a 41 head on it and for outdoors maybe something in a Sennheiser MKH70 with a Zeplin...
one mic cant do everything and always think of getting your dialoge clean
I'd also like to point out m audio nova besides rode ntg's.
Its good for dialogues and has a crisp tone.and also flute and clarinet sound awesome with it.
Its good for dialogues and has a crisp tone.and also flute and clarinet sound awesome with it.