budget film shotgun mics
 

Hello,
I’m a high school student looking to do some pro quality filming with a few friends of mine. We’re looking into buying the Sony HVR-A1U which has dual XLR inputs (including +48 phantom power) and need to purchase one or two shotgun mics. We plan on doing more cinematic applications, and were looking at one, or possibly two or three shotgun mics, both for on camera applications and overhead boom pole applications. I noticed that the Rode Videomic seems to be a popular choice for on camera, but what about boom shotguns? I’m hoping not to spend more than $200 or so on each mic, but I’ll take what ever suggestions you can throw at me. Is it worth it to have two overheads on the shoot, or is mono usually sufficient? I’ve been working in digital audio, and pro photography for a while, so video isn’t a huge jump for me, but I’d still greatly appreciate your opinions!
Thanks!!!

Rode Videomic is really very good and also can be used as a boom mic.
Rode themselves make an extension cable and also a boompole for the mic.

Check out this video-clip of the a demo of the mic and also on a boompole :
http://www.rode.com.au/multimedia/videomic_high.wmv

rgds

Dialog is almost always recorded in mono. When you have multiple mics in use, most of the time they are lav mics on each character and each one gets its own individual track, mixed as desired in post. You can place the recorded track(s) anywhere in the stereo image during post but it's usually centred equally on both channels. Keep in mind that not everyone seeing the final product will hear it in stereo - even a lot of so-called "stereo" tv's really just take a mono signal and feed it through two speakers. Also note that on-camera mics, whether they be shotguns or something else, rarely produce good audio results. "Run-and-gun" news gathering where there's no other practical option, sure. But for cinematic productions they're almost never adequate. Clear, Hollywood or network broadcast quality sound requires mics placed very close to the source - booms within a couple of feet at most or either wired or wireless lav mics hidden on the talent.

shotguns compared
 

I would go for the AT 4073 if you can scrape up the cash, otherwise the Rode NTG-2.

As Steve already pointed out, although it's nice to have really good equipment, technique trumps equipment any day. A mediocre mic placed well in a well treated environment will outshine $1500 mics placed on camera 10 feet from the actors.

So get a boom pole, practice getting it close to the actors, select quiet places to film, and attenuate echoes indoors (sound blankets, etc.).

You can be filming with a Varicam HD camera, but if your sound sucks, no one will watch it.

Thanks for the help guys! Ive been hearing some good things about the AT 897 as well- any idea how it stacks up against the Rode NTG-2? I plan on getting a (or two) boom poles; i assume it's a pretty straight forward device and there arent any real stand out bargains? Any one want to prove me wrong?
Thanks!

At897
 

For the price, the AT897 is a great mic. I have not used the Rode mic, but I know their studio mics are great values as well.

I would echo what others have said about technique. Practice practice practice...