external microphone for canon XL2?

[Gilles Debord]

Hi

What do you think for an external microphone:

Sennheiser ME66/67 and K6 for the Canon XL2, i'm lookink for a good microphone not too expensive.


Gilles

[Michael Nistler]

Hi Gilles,

Well, it depends on what you are trying to accomplish. Assuming you're convinced you need a shotgun to replace your on-camera mic, you can learn about various shotguns here:

DVFreelancer Article: Shotgun Shootout | Digital Video Freelancing on the Net

Good luck, Michael

[Gilles Debord]

Thank you Michael

I need a shotgun for wildlife video only

[Michael Nistler]

Originally Posted by Gilles Debord

Thank you Michael

I need a shotgun for wildlife video only

Okay, it's always helpful to give this kind of info up-front. At any rate, you'll probably want to use a bazooka mic or appropriate mic with a parabolic disk (I assume not a shotgun for parabolic due to directional limitation).

Here's a few useful links:

Animal Sound Recordings

http://www.dvinfo.net/conf/all-thing...ooka-mics.html

You might also want to search the internet for appropriate terms.

Regards, Michael

[Guy Cochran]

Here is an interesting article I found useful. Field Techniques ; Macaulay Library

It all comes down to budget. You can get some really nice stuff for general recording of wildlife sounds for great prices these days. It just that extra little bit of quality that gets expensive quick. IE, a field mixer for ultra quiet pre-amps, and a parabolic dish.

For a pretty decent system that would work well, I'd look at the Rode Blimp for $299 along with the $699 RODE NTG-3 Shotgun Mic. That's pretty sweet package for under $1k. But, you might also want to research some of the long shotguns, check out Audio Technica's monster BP4071L Line + Gradient Condenser Microphone

[Per Johan Naesje]

Gilles,
I use Sennheiser ME67 + K6, in pair and single for my wildlife recordings. I'm very happy with these mics.
I've used them for years with XL2 and H1 (Canon) and they work very well in most conditions. Even in wet and cold conditions. Most often I connect them with a 24 feet cable. It's also very important to monitor your sound recording through earphones when recording.

A trick could be to use them in pair and different recording levels (one high and one low) in that case you you can switch between the sound track in post using the most appropriate regarding levels!

I always use a Rycote softie Rycote | 29cm Medium Hole Softie | B&H Photo Video replaced the handle with a tent stick and put them to the ground, works very well!

Here's a couple of samples:
video-film.no Tiurleik (Capercailzie Mating Game)
video-film.no UWOL-challenge 4 (Brown Bears)
Note: the sound due to compression is not as good as my original file, but you might get an impression?

[Gilles Debord]

Thank's a lot Michael, Guy and Per Johan for all the information. The idea to use it in pair seems to be nice.

Another question is there a big difference between the Sennheiser ME66 and ME67 ? i think it's the diagram.

[Marco Leavitt]

The ME67 is longer and much more directional than the ME66. I would think the ME67 is what you'd be looking for for wildlife footage, although, honestly, if the subject is very far away I don't think anything really is going to help. I believe most of the wildlife footage you see on television is foleyed. The ME64 is a great upgrade to the stock mic on the XL2, and it's small enough to fit into a standard carrying case. The ME66 and the ME67 will probably have to be refitted every time you take the camera in and out of a bag.

[Steve Siegel]

I've been reading comparisons between various external shotgun mics, but one comparison that never seems to be made is that between the Sennheiser or Rode or what have you, and the actual stock mic that comes with the XL-2 or H1.
Everyone seems to assume that the stock mic is just bad. Is it? If the audio from
these other mics has to be cleaned up in post, too, then what justifies the added expense, and the trouble of having to carry around yet another piece of equipment with its attendant wires, etc.?

[Per Johan Naesje]

Originally Posted by Steve Siegel

Everyone seems to assume that the stock mic is just bad. Is it?

Well, I will not say it's bad but it's position is very bad, picking up all the bad noice from the operator of the camera!
My opinion is that it's much better to use external mics and particulary when you are sitting in hides you can put them in front of you. This way you can better control what kind of ambient sound you got. With long cords you may put the mics almost where your target are (I believe Gill will use this set up mostly for wildlife recording?) Using huge telelensens gives you a very narrow sector of picture, recording most of the sound from this sector will only do if you are using shotguns like ME67 (or other equal brands).

Originally Posted by Steve Siegel

If the audio from
these other mics has to be cleaned up in post, too, then what justifies the added expense, and the trouble of having to carry around yet another piece of equipment with its attendant wires, etc.?

I seldom have to clean up any thing in post except for adjusting levels, which you have to do with any audio track! My goal is to get the best ambient sound when I'm at location.
As Marco says, wildlife docs is often foleyed. Sound engineering is a profession wich take years to get a good grip on. Therefore I prefer to do as much of the sound recording out in the field. Think this is what works best for me, IMHO!