Boom/shotgun mic for video

[FocusMM]

I would like to get some input/advice on a mic to use for dialog for video. This will be used overhead on a boom like they use on sitcoms, movies, etc. I have been looking at the Sennheiser ME 66 but it is super-cardiod, meaning my boom operator will have to move the mic to pick up the person talking.

Is there another one out there that you have used that has a broader radius, so that I can pick up 2 or three people in a group without moving the mic much and without losing much db levels between each individual?

DeWayne Towe
Focus Media Ministry
New Life Christian Center

[joelwsmith]

Hey DeWayne,

All shotguns are really considered super-cardioid. That's the idea. The longer the shotgun, the tighter the pattern (in theory).

The ME66 is a good shotgun, but kind of short. 8-12 inches would be better.

The idea for shotguns is picking up only what you want with little to no ambiance. If that means moving the mic, that's what it takes. It depends on a lot of factors, though. Could you explain what you want a little more in detail?

[FocusMM]

Thanks for your reply. We have a couple of Canon XL1s cameras with XLR audio inputs. In the past, we have either used a lapel, a handheld, or the on camera mic. We are shooting a short digital film and we are looking for the best way to capture the dialogue from the actors. Just looking for the best equipment that would suit our application.

Say I have 3 or four actors in a 6 ft square and they are lined up in a semi-circle. How much movement of a shotgun mic would be required? Is there a mic that can be placed overhead in the middle of the group that would pick up each person equally without a lot of mic movement? Thanks

DeWayne

[bladeaudio]

One approach you could try is using a regular dynamic mic, like an SM58. Placed overhead, this would pick up the people evenly and still give you some isolation (not much) from noise going on around you.

The problem you have with a shotgun mic if you don't move it around is that if you put it above the group of people, the person closest to being on axis with the mic will be much louder then the others, which will sound unnatural.

Is this something you have scripted out, or impromptu? If it is scripted you could figure out a way to do your camera work so that you could move the mic around to the person who is talking. A static shot would be boring anyways.

[FocusMM]

The majority of this short film with be in a controlled set with minimal to no outside noise. It is scripted and there will be camera angle changes.

This is a short Christmas film that we will be showing on Dec 23rd as a part of our Christmas service. We thought of doing something a little different besides putting on a live play. Plus, we have a full length film script in the works and thought this would be a good practice before attempting a longer film. And when I say film, I mean digital film.

DeWayne

[WORDpictures]

Boom operators seem quite the luxury! "Stationary" overhead shotgun mic hasn't worked well in my experience for reasons mentioned plus excessive room acoustic pick up. Using a lower end pro mic however - Audio-Technica AT835B (suppose this is what "not" to do). I opt for the stronger, cleaner signal I get from my lavalieres.

I would love to hear if you find a good solution! Sounds like a fun project!

[joelwsmith]

I would say no to lavs and the SM58. Lavs pick up everything you don't want and SM58's are not for video or studio stuff.

I would use a boom operator, if you can. The mic doesn't really have to move a whole lot, just the axis it is on. If you put it in the middle of the semi-circle and point it down to the center, you'll get all the reflections off the floor. If it's carpet, cool. If not, a boom op would be best.

Shotgun mics work best when pointed about 6-8 inches in front of your subject's mouth, pointed down towards their chest. You get the least amount of reflections off their clothing and you don't pick up the harshness of sound coming out of the mouth.

Even if you don't have a boom operator handy, you can train one in about 12.2 seconds, considering you're recording directly to an on-camera pre-amp. Just be sure to use a shock-mount if you do.

[Gracetech]

The idea is to get the mic as close to the individual as possible not only to eliminate the majority of the ambiance but to also reduce the noise floor(most important). You will find that a good boom operator with a good mic and setup will have a better sound and lower noise than lav mic'ing everyone and mixing them down. I say go for the k6/ME66 with a good carbon fiber boom pole and a blimp(no windshield for indoors). Every time i've done a interview i've always mic'ed both ways but usually end up choosing the boom setup audio in post. Which leads me to point out that you might do what i normally do and lav mic everyone and mix it down to one channel and throw it on the left channel and then send the boom mic to the right channel. In post you can choose and if needed you have a alternate backup.

Another option i've used a few times is to use my VP88 for micing two people at once. The VP88 is a stereo mic but uses MS encoding which can be converged to mono in post and has no phasing issues.

crt

[Steve G.]

We use the senn me66 for our video and I would NOT reccomend you get it if you are intending it to be used for multiple people at one time. However I would reccomend it as a shot gun mic, it is very good the way it is made to be used.
If you want to get multiple people at the same time, you would not want to get a cardiod or super cardiod mic.

Steve

[[Director] drew ryan]

Here is where Chad and I will have to dissagree. I just got done doing some critical audio work for a shoot that will have 2 purposes. One of them will be for our Easter Pageant. We used lavs to get the critical stuff and a boom to capture nat sound. The lavs were way more clean and natural sounding. The other guy that did crtical audio is a pro guy from Louisville that does this for his living did the same.

We did use these handy little tabs, from Rycote, called undercovers and overcovers. They allow you to mount your lav under the clothing and not pick up the rusteling normaly associated with doing that.

[Gracetech]

Originally Posted by Drew Ryan

Here is where Chad and I will have to dissagree. I just got done doing some critical audio work for a shoot that will have 2 purposes. One of them will be for our Easter Pageant. We used lavs to get the critical stuff and a boom to capture nat sound. The lavs were way more clean and natural sounding. The other guy that did crtical audio is a pro guy from Louisville that does this for his living did the same.

We did use these handy little tabs, from Rycote, called undercovers and overcovers. They allow you to mount your lav under the clothing and not pick up the rusteling normaly associated with doing that.

You don't have to disagree. I said most of the time i choose the Boom setup, not always. I have had really good lav setups that came out better than the boom mic but that was a $8k lav/mixer setup vs. 800 buck boom. Their is no hard and fast rule here and if everything is tweaked out and working correctly with a Lav/Mixer setup it can really be great, but most lower budget stuff just can't devote that much time and money to the audio.

Also i would be interested to see what boom setup he was using and the technique involved.

Oh and the Rycote stickies are the bomb too!

crt

[Steve G.]

Usually I use the lavs while inside a studio, and the boom outside where there is no power.
But like you guys said, there is no hard and fast rule, whatever gives you the best sound is probably the best mic for the job!