Go for the 416 its probably the best short shotgun available, even though its the most expensive.I bought an AT879 because of the cost outlay of the 416 and now regret it.The sound quality is just not as sweet as the 416. I will now have to fork out and buy a 416 for my next doco as well as a Senn radio lav mic set up.If you don't use a boom pole with the shot gun, be sure to use a good quality isolation mount that sits the mic a couple of inches away from the camera body.If the mic sits snug against the camera body it will pick up the mechanical noises.

Normally I would use a lav but I'm doing a bunch of spur of the moment interviews along with the planned ones so it would be kind of hard to use a lav. I think I'll go with the 416. Is the Rode SM3 On Camera Shockmount
good enough to eliminate the mechanical noises from the camera?

Sennheiser 416
 

Years ago I was researching what mic I should buy to combine with my video camera to shoot feature-type material on video for practice.

After deciding on the 416 because it seemed to be the one mic that everyone referenced their mics by, I talked to a salesman at a local sound equipment store, and once we got into a good rapport, he told me that a Sennheiser rep had asked them NOT to sell the mic if at all possible, because once someone bought that mic, they never bought another mic!

Needless to say, I bought the mic, and have been quite happy with it.

That being said, you always need to have the mic as close as possible to the sound source to get great sound. Test it (or any mic) out from varying distances from 1 inch to 30 feet and you'll see where your best distance is. Then plan accordingly. Just because it's a shotgun mic doesn't mean it can do miracles!

It's best not to put the mic on the camera unless you're shooting very close. But if you don't have a boom op you can at least put it on a C-stand from the arm and get it at the right distance from your talent for an optimal source/background levels ratio.

Camera noise picked up by a mic on camera comes from two sources. One would be conduction through the mounting and a good shock mount would certainly help but the other is picking up sounds through the air - motors whirring, camera operator breathing, etc and there's nothing a shock mount will do fo those.

The second problem with on-camera is that it's just not close enough to the subject for good pickup. If at all possible, work with a sound person and get the mic up closer to the interview subject either on a boom or handhelp.

Audio for documentary
 

I am shooting a documentary that will incorporate mostly interviews and scenes, with some live band music recording.

I plan on using a sound guy here in Los Angeles for the brunt/majority of all the audio and wondering how well lav's versus boomed audio works with the HVX, and what would be a good microphone for the camera on some rare interviews where I may not have a sound guy...Some have mentioned the Sennheiser ME66? Any ideas?

Also, what is the best way to record a live music band situation audio-wise? From a mixing board in stereo? Probably drums, bass, striungs, piano and vocals -- just trying to figure out what is the best route?

Thanks for da help -- just in pre-production mode and seeing which way top start planning for.

Cheers,
JC

On the last doc I worked on, we used a boom on most interviews. I would've liked to have had a decent wireless running on another channel though.

As far as recording a live band... how good does it NEED to be? I mean, you could mic every instrument (every drum), run it into a massive mix board, and mix it live (or run it into a computer and mix it in post)... or you could get a couple of mics and place them carefully in the middle of the room (or wherever).

If you can afford it, you could outsource the live band stuff to an audio professional. Then you can just concentrate on the video. If I ever shoot a live band again, this is the option I'd prefer.

good thought
 

Thanks Sam,

yeah, I am definitely thinking of that approach to the LIVE band thing -- right with ya.

however, wit the Lav's -- how expensive are those? Living in Los ANgeles, with great sound guys here, won't their LAV mic's be better than mnine? Also, is it smart/safe to back up all audio with a DAT? And should I use a clapper as well in order to sync up later, or are most people just booming/lav'ing into the camera?

I ask so many questions because I know how important sound is, and being an audiophile myslef, as well as seeing many, MANY low budget films get killed because of bad sound....I don't want that to happen to mine.

I am willing to pay for a great sound guy here, since I know how good sound is of value -- however -- I am wondering what is the optimal situation i want from a sound guy -- Mixer, lav's, dat back-up? Unsure and would love any info/addvice you have.

Cheers,
jc

How about - since you're in pre-production at this point - simply calling a few experienced sound ops and asking them what they've done, if they've done what you want, and what gear they can bring to the job?

A sound op with his own gear (as opposed to one who might expect you to rent) has invested in himself - which means he/she is serious about his/her rep.

As for one man band - consider a wireless lav setup. I'm not familiar with your camera, but if you can set levels in the camera, this is a handy option used by a lot of independent ENG people.

And if you did some practice in advance with this, you might even find the lavs would be fine for all your interviews - which would save the sound-op expense (sorry sound guys....maybe you should add a camera to your sound kit too:-)).

But I would DEFINITELY get an experienced sound op who has done this sort of work for the music part. Make sure you shoot a full song/tune master shot, then get plenty of cut-ins, (B roll) close-ups of fingers, instruments, etc for editing. You might even get the musos to repeat the song so you can get a bunch of close-up "lip sync" shots for post.

Best.


Michael KNight.

If you're going for Wireless, the Sennheiser G2 is good value for money - excellent quality, durable, takes AA batteries and doesn't cost too much.

Avoid anything cheaper.

But beware!
Most people new to wireless get caught out by not learning how to set it up properly. It's not easy, you need to practice over and over again - so that you're familiar with the settings.

Every person you clip it on, every position you place it in - and every recording situation is different. So you must do real sound tests.

The most commmon mistake people make is getting the sound too hot. Use good quality headphones when you set the mics up - and make sure you don't get any peaking.

I'm not trying to put you off - quite the reverse. Wireless mics can be fantastic - but they get blamed for a lot of faults that are purely bad setup.

Good luck.

Andy

awesome
 

great info guys -- in the pre-production mode so just planning ahead.

i appreciate the thoughts and heads up.

be well,
cheers,
justin