Rode Videomic
 

I am sure this has been discussed, and there is plenty of information on the Rode Videomic, but what about field experience? Can anyone tell me how the mic has worked out in practical use?

Thanks.

Kind of a broad question, Jack. I'm inclined to answer, "It has worked out fine in the field."

I could be a little more specific and say that it has given me better results than I had a right to expect from a camera mounted mic when I've used it that way, better than I had a right to expect from a shotgun mic indoors, when I've used it that way, and always better than I had a right to expect for $150.

Videomic II
 

Hi Fred:

Specifics: I plan to use it on an HC-1, which is a backup camera to a Z1. So I hope to get decent audio pickup within the vicinity of the camera, say 20 feet. I also am experimenting with the HC-1 on a Merlin, and don't want to rely on the camera mic. I am not into super techno numbers, but from what I see, I should be able to get decent enough sound for broadcast and general production purposes. Weight is a big deal, especially on the Merlin, which is another reason the Videomic appealed to me. Thoughts?

Thanks,

JH

The Rode is certainly capable of broadcast quality sound and by all reports is a very good value for the money. But you've said you want "decent enough for broadcast..." and then toss out the number "within 20 feet or so." (Assuming that you're talking about spoken dialog here and not orchestral performances, etc.) Those two criteria are mutually exclusive for ANY mic at any price, whether you're talking about the Rode or several thousand dollar professional mics such as the top-of-line Sennheisers, Schoeps CMIT, etc. Microphones, shotgun or otherwise, need to be within a couple of feet of the sound source to record the quality of sound you associate with theatrical films or network TV dramas and sitcoms, the closer the better. For dialog, any separation beyond about 18 to 24 inches between the speaker and the microphone and the quality of the recording is going to deteriorate rapidly. For reality TV like "Cops" where people will forgive slightly compromised sound due to the breaking news look-and-feel, you might get away with an on-camera mic for distances up to 4 or 5 feet. But 20 feet away and the only thing the track is going to be usable for is as a guide track for ADR dialog recording in the studio later or for general room ambience and environmental sounds.

You can't do an interview at 20 feet and get production quality audio with any mic, but the Rode will do about as well as more expensive and heavier mics. Many other types of audio at 20 feet or further will sound great. It depends on what the listener's expectations are based upon the video content.

When you get within ten feet, The Rode really starts to shine [edit- but I still don't mean studio quality dialog]. Based on my experience with the Rode, as well as with Audio Technica mics ranging from $180 to $650, I think you'll be very happy with the VideoMic.

Ambient sound
 

Thanks, guys,

This is a big help. I was thinking more of ambient sound, and videomic is a boost beyond the camera mics. From what you are saying, it will work for my purposes.

I own a Sennheiser 66, a wireless lav kit, plug and 835 hand held mic, plus an old Sony ECM77 wired lav, all of which I use on the Z1.

I have a beachtek for the little HC-1, but the videomic, I think will help augment the sound for general pickup purposes especially on the steadicam. Thank you both for getting back to me.

Regards,


Jack