Microphones for 550D?

MarcusBonnick

MarcusBonnick

I am going to buy a 550D, I have been researching different kinds of external microphones such as the Rode series because most of my work will rely on capturing the audio to a decent quality...

What do other film makers use, that's if you use DSLR cameras ?

Thanks :)
 
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You'll need an external audio recorder as well as the microphone, and that will probably set you back more than the mic. I received the Zoom H4N as a Christmas present and, whilst I haven't yet used it, I hear very good bang-for-your-buck things about it.

As for the mic itself you should be able to get by on just a shotgun mic like the Rode NTG-2 http://www.rodemic.com/microphone.php?product=NTG-2

You might also want a condenser microphone for shooting indoors, but if you're just starting out this is probably something of an expensive luxury. You should be able to get everything you need with a carefully applied shotgun mic.
 
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Are you a newbie? Or have you been doing this a while?

If you're a first-time filmmaker, I actually come from the school of learning just one thing at a time. Which would mean that for your first few shorts, it's totally cool, in my opinion, to use crappy audio from your in-cam mic.

Eventually, as Nick mentioned, an external recorder is definitely a good idea. Plugging a mic directly into the 550D is a bad idea, on many levels.
 
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For those on a budget who want clean sound on cameras that lack manual audio gain control (e.g., the 550D/T2i), I suggest this solution: connect the headphone out of a $99 Zoom H1 to the mic in of the 550D/T2i with a $25 Sescom LN2MIC cable.

That way, you get clean 24 bit/96 kHz audio on the Zoom and a backup/sync soundtrack on the Canon. I also put a Radio Shack splitter on the headphone out so that I can monitor the H1.

There are firmware hacks and monaural tone generators that can help to fix the 550D/T2i audio gain problem, but I prefer this solution. YMMV.

Here's my setup. Works great:

https://picasaweb.google.com/lh/photo/znz5lrGmwIKx0RDxtGBtdtLWvia-KkjCX736NjsZ7a4?feat=directlink
 
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As always it comes down to budget.

Rode just came out with the VideoMic Pro which is aimed specifically at the DSLR market. First reports are positive within its "restrictions" and price point.

There are devices like the juicedLink DT454 designed for DSLR cameras, but at over $400 you may as well start building a double system (separate audio recorder), which, no matter the camera format, should be the goal anyway. The biggest argument for going double system is that there is no way to monitor the audio being recorded by DSLR cameras; you could shoot all day and find upon file transfer that there was a faulty connection and none of the of the audio of an entire days shoot was recorded.

Once you get into a separate audio recorder units like the the Zoom H4n and the Tascam DR-100 are ultra-micro-budget compromises that have serious problems to overcome. Yes, they work fine for the occasional filmmaker, but for anyone hoping to do serious work a "serious" audio recorder like the Marantz PMD-661, Fostex FR-2, Tascam HD-P2 or the Edirol R-44 is a must.

Mic selection is another area where compromises will affect the final product.

And, as silly as it sounds, simple things like home made boom-poles and shock-mounts create their own problems. In fact, it's probably more important to have a nice boom-pole and shock-mount than the nice mics(s).

As always, my advice is to hire a professional production sound team or hook up with a production sound up-and-comer. If you want to own your own gear you need to define your budget and make informed decisions from there.


Sound is half of the experience. ​
 
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In addition to the excellent advice by Alcove Audio, to make it easier for syncing software like PleuralEyes that rely on audio signature for syncing, a relatively cheap 1/8" stereo omnidirectional mic will double the information available for syncing over the onboard mic and give you better results. This is throw away audio for syncing purposes only.
 
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Just a question I'm curious about:

I'm using the Rode NTG-2 and Zoom H4N. All batteried up. Connected by an XLR cable. But when I record there's a little bit of interference that I can't get rid of. If I record just on the Zoom H4N then the sound is clear, but when I hook it up to the shotgun mic I get the interference...

Any ideas why I'm experiencing this? Thanks in advance.
 
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Im absolutely not a sound guy but i understand that the length of the cable or unstable connections can be a cause of this.

And do you have a wind shield for the mic?

I have no idea what im talking about but those might be things to check until Alcove gets back to you :P
 
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There are different types of interference, so it's difficult to know what to tell you. I'll assume that you know the difference between wind & similar noises and interference.

All cables have the potential to act as an antenna, or to pick up stray electrical sources. Make sure that you use a quality XLR cable. Insufficient shielding is the hallmark of cheap cables and will allow all types of interference.

RF - Radio Frequency - interference is very common. Cell phones and WiFi are the usual culprits. Turn them all the way OFF; not on vibrate or on stand-by, completely off.

Electrical interference is also a frequent occurrence. Mic cables crossing electric lines may be a cause. In commercial facilities sometimes walls are nothing but huge electrical conduits; all the electric and HVAC for a 25 story building in one wall, for example. There's not much you can do in that circumstance.

Low batteries can also create noise, and the H4n is a notorious battery drainer. If you are using it to supply phantom power you can expect 90 minutes to two hours of usage, tops.

If you have the phantom power of the NTG-2 on, and the phantom power of the H4n on simultaneously you will damage both and probably have extraneous hums and buzzes.

If you're not familiar with using shotgun mics - or other sensitive mics - they have a way of picking up a lot of sounds that you may not expect. Refrigerators, computers, microwaves - the myriad of electronic devices we all use every day - all generate sounds that we never notice during our everyday life; oh, don't forget to include your on-set lighting kit. Our brain has an "editing function" that edits these sounds out of our awareness. Due to the physics and psychoacoustic principles of microphones and sound reproduction systems these sounds are overly emphasized when recorded and played back, and then forced upon on our awareness. So when you are on the set UNPLUG all of these devices; when they are plugged in they are not really turned off, they are on "perpetual" stand-by and creating noise and electric fields.

Could we hear a sample? You can put it up on SoundCloud and provide a link
 
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My electricity has been down for the past day, which is frustrating but it gave me a chance to test the mix without the wireless and other appliances being on.

I think this is probably the main reason for the interference.

However when I'm shooting the scene I was planning (as Alcove recommended in a different thread) to have someone actually being on the phone for a phone call scene and then doing a live recording of the voice over in a different room. Will the mobile phone signal interfere with the mic too much for this?

The problem might also be this mysterious 'phantom power'... I'm not really sure what it means. I have batteries in both the mic and the H4N. Is there some sort of switch that I'm missing?

Unfortunately I left the H4N manual in a place I don't have access to at the moment (or at least before the shoot on Saturday) so if anyone can help me by answering these face palmingly obvious questions, then that would be amazing!

Thanks to EW and AA already! :)
 
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Yes, cell phones are notorious for creating RF interference. On the "unseen caller" end try a hardwired phone. You can probably find one at a Good Will or Salvation Army store for about $5.

Phantom power is what makes condenser mics work.

From Media College.com:

"How Condenser Microphones Work

A capacitor has two plates with a voltage between them. In the condenser mic, one of these plates is made of very light material and acts as the diaphragm. The diaphragm vibrates when struck by sound waves, changing the distance between the two plates and therefore changing the capacitance. Specifically, when the plates are closer together, capacitance increases and a charge current occurs. When the plates are further apart, capacitance decreases and a discharge current occurs.

A voltage is required across the capacitor for this to work. This voltage is supplied either by a battery in the mic or by external phantom power."

The NTG-2 uses a battery to supply itself with phantom power. The H4n can also supply phantom power. Using both can seriously damage the mic. TURN OFF THE PHANTOM POWER OF THE H4n. Oh, you can download a PDF of the manual.

http://www.samsontech.com/products/productpage.cfm?prodID=1994

It's at the bottom of the page.
 
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So there is no extra accessories I need to buy for a Rode NTG-2, since I think this is the most appropriate mic. Also, are you allowed to carry the shotgun mic while filming, as well as mounting it on my camera?
 
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SquaretheJon said:
So there is no extra accessories I need to buy for a Rode NTG-2
Click to expand...

If you are using it with a DSLR camera you will need an impedance matcher:

http://www.bhphotovideo.com/c/product/589872-REG/Pearstone_8111240_LMT100_Low_to.html

Keep in mind that there will be no way to monitor your audio, so you will not know if you have hums, buzzes or even of you are recording audio at all.

SquaretheJon said:
since I think this is the most appropriate mic.
Click to expand...

Appropriate for what? A hypercardioid mic is a much better choice for indoor usage.

SquaretheJon said:
Also, are you allowed to carry the shotgun mic while filming
Click to expand...

Do you mean in your hand? I guess you could but... It is intended for mounting on the end of a boom-pole.

SquaretheJon said:
as well as mounting it on my camera?
Click to expand...

NOT recommended; that's why you use a boom pole. If you must camera mount use a cardioid mic of some sort. You may as well use the Rode VMP if you are going to camera mount exclusively.
 
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Actually, now that I think of it, I don't think I need a boom pole, and think I can just use my hand to carry it. (I can't afford the boom pole at the moment). Will holding it ruin the sound quality? I figure by holding the rode ntg-2 in my hand, it will create a very directional microphone.
 
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A shotgun mic isn't magic; it's directionality is meant to mitigate surrounding noise. Holding it in your hand will induce handling noise (no pun intended) unless you have a shock-mount and a pistol grip. If you bought the mic kit from a reputable dealer it should have come with both.

A shotgun is a directional mic; it takes some skill to be able to take advantage of its directionality. The purpose of a boom-pole is to get the mic in much closer to the talent than you could otherwise, but aiming it improperly will actually give you more background noise if aimed improperly.

You can DIY a boom-pole for about $30.

http://www.indymogul.com/episode/imwe_20070727


And if you're running the camera forget about trying to handle a boom at the same time.
 
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God bless Uncle Bob in this time of need. ;)

Jon, if you have the mic with a shockmount you can use a broomstick as a boom in a pinch. You want to isolate yourself from the mic.
 
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I understand that I need to isolate myself from the mic, but I need to know what set up I would use and what I would need to buy exactly.

CamVader said:
Jon, if you have the mic with a shockmount you can use a broomstick as a boom in a pinch. You want to isolate yourself from the mic.
Click to expand...

Can you actually attach somehow (maybe tape??) the mic to the broomstick and use that as a boom mic? If you can do that, I could use a hockey stick instead, because it has that arc at the end. But won't this interrupt the sound if it is taped or not appropriately attached to a boom pole, or a broom stick? Or am I only allowed to do this with a shockmount involved?

Thanks!
 
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