ASK & DISCUSS INDEX

11 years, 3 months ago - Jane Hamer

Hi Paddy and Andrew.

Many thanks for those tips and your advice.

@paddy - We intend buying the Rode in the bracket that comes with the shockmount definitely. Researched how important this is. Also, yes, we would need it on a boom, so intend buying the Rode extention lead for that (I believe other cheaper makes are inferior so taking no chances there and/or use a smartlav)

My main query is, is it worth paying the extra (almost same amount again) for the pro for clarity after researching and eliminating/fixing (such as the things you've kindly suggested) other sources where the sound could suffer? Also I've listened to both the Videomic and the videomic pro and can't tell any difference.

@Andrew - thanks very much for your advice. I'll have a look at juicedLinks now. Much appreciated.

Regards,
Jane

11 years, 3 months ago - Paddy Robinson-Griffin

One thing to bear in mind is that no matter which microphone, you need to get it near the action! If those mics are camera-mounted, can you also mount them on a boom (or makeshift broomstick one) and run an (ideally balanced) line back to the camera?

A brilliant microphone on the wrong side of the room can often sound worse than a lesser one closer in.

Also be aware of handling noise - use a shockmount (or again make one with rubber bands and some plumbing pipe) if it's camera mounted.

11 years, 3 months ago - Roland Denning

Just to re-iterate what others have said, a camera mic is always a compromise - it is seldom in the right place to do the job. Having said that, the VideoMic Pro is not a bad mic - it is very compact, quality is reasonablly good but the suspension mount is a bit flimsy. If you are using a boom, much better to go for a Rode NTG-2 which is a proper short gun mic.
Think carefuly why you actually want to mount a mic on the camera!

11 years, 3 months ago - Paddy Robinson-Griffin

There isn't really a 'worth' absolute, only 'worth to you', so that's your call. It's easy though to unbalance a shooting kit with some components holding others back. The weak point in your kit will probably not be the mic if you're using a boom and going in close enough with the basic model. On that basis in your shoes if probably go for a 'good enough'mic for everyday use and if you find it is holding the rest of your kit back, hire in or get a Soundie.

Just for info, any mic that has a minijack connector is going to be more susceptible to noise thanks to the unbalanced line back to the recorder. It's not bad, and certainly better than no mic or one far away, but it's not professional grade either (this is what XLR sockets and cables are about, if you ever wondered). Bit of background for you :)

11 years, 3 months ago - Marlom Tander

Minijacks on long cables are NASTY for noise, and you'll almost certainly not want it camera mounted. Cameras are very rarely in the best place for sound. Much better an XLR and if your camera can't cope, a Beachtek box is a damn fine investment.

11 years, 3 months ago - Jane Hamer

I've just re-read everyone's great advice again, and as Paddy says, you need to get near the action - yep, I do. And thinking about what you're all saying and Roland's last line: yes, why do I want to mount the mic on the camera? The more I think about those aspects, the more I realize I don't want to mount the mic on the camera. Most of the work we do will be on the boom.

Thanks guys for making me think about things logically. I'm going to opt for paying quite a bit extra and go for the NTG2 rode mic and upgrade my recorder at the same time.

Thanks everyone, really appreciate your help :)

11 years, 3 months ago - Andrew Morgan

If you can afford it, I'd go with the Pro - the +20db can come in very handy - on cameras like the Blackmagic (with poor/weak preamps) it's essential unless your using external preamps.

Check out juicedLink.com for some excellent beginner videos on audio :)