For the Solo Video Practitioner: Your statements here are why I advocate simply keeping the camera (a small camera) within 3 feet of the speaking subject for the solo practitioner who wants good sound.
It takes a good long time to get good at recording good sound with lots of tools in the mix AND your dedicated ear, listening to what's going down on tape. If you ear is NOT dedicated, you're going to screw it up eventually - and the more gear you have between the voice and the medium the more chance of goofing it up. What I LOVE about this medium is that you CAN do quality work without all the bells & whistles. I know what it is to work with all the bells & whistles. To heck with that :) Another suggestion for the solo practitioner: Consider two recording devices. One for video and one for audio. Use the camera for excellent b-roll of the subject and environment. Record an audio-only interview where you can really focus on questions and answers and know to a great deal of certainty that you are getting good audio. Then cut the two together. Here's an example of that idea used to good effect: < http://fauxpress.blogspot.com/2007/04/composer-andrew-shapiro-interview.html > Jan On Jan 31, 2008 11:38 PM, Brook Hinton <[EMAIL PROTECTED]> wrote: > Every HV20 seems to have a diffferent level of mechanical noise, but > they are all a bit loud. > > The DM50 does not do well vs. the videomics according to those who > have used both. The DM50 is a decidedly consumer product - both the > Rode's are designed to bring pro level sound to high-Z > consumer/prosumer equipment. > > Beachtek boxes and the like are great IF you already have a $500+ pro > mic and a good mount for it. I have used them on multiple cameras. > They do NOT improve the mic preamp you are stuck with in the camera > (fortunately the HV20's hi-z preamp isn't nearly as bad as those on > Sony's consumer cams). But the Rode videomics really change this > equation, as they can deliver excellent sound and are DESIGNED for > camtop use. I have a beachtek, phantom power supply, and $900 AT4073s > that I use in a variety of applications, and I even HAVE a camtop > shock mount that works with them, but I'm still going for the videomic > (probably both models) for my HV20. I wish the videomics were smaller > and less "look at me" in appearance, but the only better option there > is the tinymic, and they are uber uber pricey (and that tiny diaphragm > just makes me nervous. How can it be a shotgun mic when my first > impulse is to convert it into a contact mic?) > > There are reports that the stereo videomic still picks up camera noise > in very quiet environments, while the shotgun model is less prone to > this. > > yeah, lavs solve a lot of problems. For straight "talent on camera" > work a GOOD wireless lav setup is wise, but in general I don't like > the sound of lavs. I prefer even imperfect open sound that has a sense > of space to the sound of lavs, as long as intelligibibility isn't an > issue. > > The best sound will always be from an overhead boom as close to the > subject as possible, but that doesn't help the solo filmmaker. > > Brook > > > > > _______________________________________________________ > Brook Hinton > film/video/audio art > www.brookhinton.com > studio vlog/blog: www.brookhinton.com/temporalab > > > > Yahoo! Groups Links > > > > -- The Faux Press - better than real http://feeds.feedburner.com/diaryofafauxjournalist - RSS http://fauxpress.blogspot.com aim=janofsound air=862.571.5334 skype=janmclaughlin [Non-text portions of this message have been removed]
