Microphone techniques and choices for video production work is very different from that used for live sound reinforcement. Where for sound reinforcement the goal is first and foremost gain before feedback with sound quality a very close second (because, if you can’t get the input loud enough before it starts squealing, the sound quality is pretty much irrelevant), audio quality, low internal noise, and being able to be invisible are the more cherished attributes of mic'ing for video.
“When on-location it is typical that a videographer be equipped with a traditional shotgun-style microphone and also an assortment of body-worn microphones in both omni and directional type,” states Gabriel Antonini, business development manager/global support for DPA Microphones. “Having both types can assist them when the room acoustics are great—or, not so great. Using directional mics can focus the sound and reject the reflected sound to a certain degree. It can also “tame” the un-wanted sound like vending machines or coffee makers, or at least lower them in volume. On the other hand, the omni pattern in a good acoustic space can bring a very natural sound experience that places the listener ‘there.'”
Micing distance is also a critical factor no matter what style of microphone you use.
“Our goal is to get the mic as close to the person talking as possible,” says Steve Savanyu, director educational services for Audio-Technica U.S. ,Inc. “Unlike a telephoto or zoom camera lens, microphones do not have ‘reach.’ Thus, the audio from a camera-mounted mic will still sound like the talent is 15 feet away.” You want the microphone as close to the talent as possible for the clearest sound with the minimal of background noise.
When the desire is for the microphone to be invisible to the camera, there are two basic approaches: A lavaliere microphone hidden on the talent, or a shotgun microphone attached to a boom pole and held just out of frame as close to the talent as possible.
“Small lavalier microphones may be hidden in shirt collars, on or under lapels, at the hairline, along the stem of eyeglasses, in the brim of a hat, or just over the ear,” describes Chris Countryman, president of Countryman Associates. “Note that omnidirectional microphones close to the mouth have two more advantages over distance microphones. When the subject changes the angle of his or her head, an earworn microphone turns with the head [and keeps the sound consistent].”
“A shotgun microphone is a great choice for an interview,” says Robb Blumenreder, commercial manager, audio for video at Sennheiser, “because it allows the mic to be well out of the shot and it’s far less imposing (i.e. more comfortable) for your talent if they don’t have a microphone inches from their face.”
Savanyu adds, “A longer shotgun style mic will give you a greater working distance. However, you will need wind protection for the mic. This can be as simple as a fuzzy-type windshield that fits over the mic (known in the film world as a ‘dead cat’) or for very windy situations a large blimp or zeppelin style wind protector with the dead cat over it. It is also a good idea to provide the boom operator with camera audio so he/she can hear what their mic is picking up. It does take a bit of skill to boom, but a good boom op can acoustically mix the sound by how they position the mic. For a two-shot interview, place the louder talker slightly off axis and let the softer talker hit the mic more on-axis.”
“Once you understand your workflow,” says John Born, senior project manager for Shure Incorporated, “you want to ensure the gain settings are properly set and you’re conscious of other imposing conditions that might be out of your control. Perform test recordings to ensure the level is clear and noise-free. Often times, bad audio is caused by simple mistakes, and monitoring and testing your audio before the shoot ensures you won’t be surprised later.”
CPM would also like to note that Sennheiser is a sponsor and exhibitor of their Capture event, a conference focused on video production in churches. “Sennheiser is excited to join CPM at the Capture conference in August!” says Blumenreder. “We’ll be focusing on our audio for video product assortment and covering a variety of use cases with different equipment ranging from smartphones to DSLR/Mirrorless cameras and video cameras. We’re looking forward to providing some tips and tricks when it comes to connectivity across wired, wireless and mobile products and how to get the best possible audio experience for your content creation.”
To wrap up, here is a selection of audio-for-video products from our interviewee companies that they feel are good selections for video production in a church setting.
Audio-Technica
AT897 Shotgun Mic
Great all-purpose shotgun mic, ideal for boom work or mounted on a camera, offers great directionality and low noise operation, battery or phantom power. MSRP: $249
ATW-1701/L System 10 Camera Mount Wireless with Bodypack Transmitter and MT830cW Omnidirectional Lav Mic
With its compact and portable design, the System 10 Camera mount high fidelity 2.4 GHz digital wireless is ideally positioned to capture media on the go, making it an ideal choice for video production, electronic news gathering and other mobile applications. MSRP: $450
Phone: (330) 686-2600
Sennheiser
MKE 600 Shotgun Condenser Microphone
Sennheiser's short shotguns are fixtures on location and soundstages worldwide, and have been for decades. The MKE 600's diminutive size lets you boom or camera-mount as the shot dictates. MSRP: $420
MD 46 ENG Reporter’s Microphone
The MD 46 handheld cardioid ENG microphone includes features found in today's interview mics, but with studio quality sound.
Phone: (860) 434-9190
Shure
VP83 LensHopper Camera-Mount Condenser Microphone
The ultra-compact VP83 LensHopper™ is an all-in-one, camera mount solution for capturing high-definition audio with full low-end response for professional results every time.
MSRP: $199
MVL Lavalier Microphone for Smartphone or Tablet
The MVL Omnidirectional condenser lavalier mic connects to mobile devices for interviews and videography with excellent audio and simple controls using Shure MOTIV Apps. MSRP: $69
URL: www.shure.com
Phone: (847) 600-2000
DPA
d:screet CORE 6060 Lavalier Microphone
The 6060 Subminiature is a great choice for doing video interviews and/or live. It has the high sensitivity which makes it wonderful for speech and is only 3 mm in size and can be concealed beneath the clothing or mounted as a standard Lavalier option.
MSRP: $550
4017B-R Shotgun Microphone
Photo: 4017B-R-ddicate-4017B-R-Shotgun-Microphone-with-Rycote-Windshield
The 4017 B-R is a standard shotgun microphone with Rycote wind-jammer. It is immune to RFI noise and humidity and extremely light. MSRP: $2169.95
Phone: (303) 485-1025
Countryman
E6 Omnidirectional Earset Microphone
The E6 is our most popular microphone and a perfect choice for when the microphone may be discreetly visible.
MSRP: $515
B6 Omnidirectional Lavalier Microphone
The B6 Lavalier is the smallest lavalier in the world and our most popular microphone for when the microphone must be hidden. MSRP: $445
URL: www.countryman.com
Phone: (650) 264-9988
