Microphone Mounts
 

Hello to all,
I have gotten so much info off this forum. The search for the right camera can be very frustrating and this forum helped me a great deal. Thank you.
I will be ordering a GL2 tommorow from ZGC.
I am new to DV but not new to photography.
I have one remaining purchase question that I have not found an answer to that maybe some of ya'll can help me on.
The mic. I plan on buying an ME64 to mount on camera.
Now how to mount it? And my XLR adapter?
I see the MA-300, but it uses the hot shoe, and besides not being able to use that cool little 3w bulb at the same time, it also brings the mic up very high above the camera that is certainly good for getting away from possible camera noise but might be a little too conspicuous. Say, during a documentary, following a subject through a place that might not be so receptive to a camera.
I see the BeachTek adapter, but that installs on the bottom, so what would I mount the mic with. I found one hot shoe mount but would be using the hot shoe again. Also, thinking back to the Apple store where I held a GL2, doesn't the base of my hand wrap a little bit under the camera.
I also see the Studio 1 adapters. Actually I see several of them and they all appear to be belt attached. And I have not found the complete answer on the difference between the Beachtek and the Studio and their grounding.
So, can anyone fill me in with their take?
I know the visual, and am looking forward to learning the audio.
Thanks,
Michael

Oh, I also own an MD player that I have envisioned myself capturing sound effects. One of my favorite uses in film:
Mr. Hulot's Holiday...the door swing. You know it?

Check Lighwave Systems
 

Zotz and I ZGC tsock Lightwave products. They probably have a solution for you, though inconspicuous might not be part of any system!

Their URL is http://www.lightwavesystems.com/

A Jacques Tati film. "Les Vacances de M. Hulot" from 1953. See http://us.imdb.com/Title?0046487 and http://www.france.diplomatie.fr/culture/france/cinema/fictions/100films/gb/021.html

The mounts
 

Oh no, of course I know the film. Tati is the greatest. One day maybe the new found, 70mm restored 'Playtime' will come to the shores of Florida. I was seeing if anyone remembered the sound effect used on the swinging door in the film. One of my favorites.

And to the mount, thank you for the link to Lightwave. Their mount option looks like it would bring it up even higher than the MA300 though. I suppose the MA ain't so bad after all.

Michael

The Tati reference I made was for the benefit of others following the thread. The LightWave gear is superb even though it does add some height for you. At least you have a few options here. Let us know which one you choose,

Michael, the mini-rover is a great way to hang all kinds of stuff off of your camera, even more if you add the mini-mate. See link below.

Regards, John V.




http://www.dvshop.ca/videosmith.html

IMO the last place to put a microphone is on a camera.
IMO look at each situation/location then decide where to put the mic. a little extra thought could make the difference between good sound and so-so sound.

Yes, that is exactly what I had decided to do. My camera will be getting to me this week and I will be waiting to see what kind of environments I am in and will be shooting to make the decisions of audio for me. Get a feel for the camera and it's style. Being new to DV and not my sole occupation, I do not need everything immediately. I am fascinated with all the different set ups and avenues I am finding available and am looking forward to finding others on my own.

Michael

Tati, Lightwave
 

Tati references and Lightwave equip. in the same forum-- this place constantly amazes me!

I'm not clear on the differences 'tween the LW Mini-screen and the Equalizer-- does the Equalizer sport the mesh 'cage' of the Mini-screen, or is the Eq. more of a robust sock with the fuzzy mitten? The Mini-screen pic on LW's site shows no fuzzy-- is that an add-on?

We need fairly robust wind handling for some typically gusty locations, using a Senn. ME66 or MKE 300 (prob the 300, due to $$)-- any suggestions?


As far as Monsieur Tati, 'Mon Oncle' is also good, with trademark Tati sound to great effect in the Factory and Hi-Tech Kitchen scenes.

Cheers all,

Michael Pace
Florida, home of six Tati fans

Hello Michael,
The Mini-Screen is sort of a half-blimp. That is, it is a rigid foam/plastic matrix that slides over the business end of an ME66 or other similar shotgun mic. The Equalizer (for the GL2) is a fuzzy gizmo with rigid insert that slides over the GL2 onboard mic. (I haven't used ithe Equlizer models for other mics.)

The Mini-Screen works very well in fairly gusty wind. The Equalizer is, well, so-so. It's better than nothing.

The best wind protection, and perhaps among the most expensive, are Rycote Windjammers and Softies. These are the big, hairy wind screens that you'll sometimes see on professional mics outdoors. They are patented and have actually been awarded a technical Oscar. (See: http://www.rycote.com/website/homepage/home.html) I wouldn't doubt that you could shoot smooth sound in a hurricane with these.

Michael,

I've got a Rycote softie on my me-66, and it is amazing...took it into a stiff breeze at the beach last week, and it worked like a charm. About the height issue...if you use a big fuzzy windscreen like this on camera, you may want the extra height that the ma300 and other devices offer. I've got a cheap beyer-dynamic shock mount (works great for $30) which sits pretty low, and the fuzz is constantly invading the top of my frame if I dont keep an eye on it...and with the wide angle attachment...fugeddaboutit.

Barry

Barry,
Off-hand, which model of Rycote Softie do you use for your ME66? I can't find a good guide for mic/model match-ups for the Rycotes.

Thanks very much.

Barry & Ken-- thanks for the good replies--

I too have seen little in the way of app charts for the Rycote fuzzies-- their site shows general views of their stuff only (mostly the higher-end gigantor-sized blimps). The ZGC site has a Rycote slip-on ($50) that would seem to fit many mics; i'll be calling them tomorrow to see if it might work for the MKE300, which of course only has the foam screen.

For such as the ME66 i like the approach of the Mini-screen. From what Ken says it sounds sufficient for a ME66-type setup even without a fuzzy. The Lightwave site makes me think the fuzzy cover on a Mini-screen is for considerable wind indeed-- quite possibly more than i'll have to reckon with in the immediate future.

Ken, i know you use both ME66 and MKE300-- how's the 300 in wind? Do you have a fuzzy on it?

Oh yeah-- i kind of slipped in under the radar by posting here; i'm using XL1 but my searches on mic stuff landed here and it's mostly all applicable anyway. Regardless you guys are making this forum one of the very best. You can bet I'll be putting a credit to the forum at the end of this project.

Happy shooting all,

Michael Pace
yr man in the Panhandle

Michael,
Actually, I use the ME66 (which I find to be excellent) and also use the MKE100 camera-mounted shotgun on my GL2. The MKE100 is an excellent value for an on-cam directional mic. I've never used the ME66 mounted on either of my cams.

Barry:
I think I just got an answer to my Rycote model question. It looks like the 18cm Softie is the correct pick for a Sennheiser ME66. Does this jibe with yours?

Ken

I bought mine through bhphoto, and through their website the softie I bought came up as an accessory for the me-66..It says 21/22 on the rubber gasket so I guess this means the size. It fits pretty snug, so I think the 18mm would be too small.

Barry