These mics sound their best at no more the 3.5 to 4' with an ideal height of 2 to 3' above the sound source, and are great for interview applications. So, putting the mic facing the speaker’s mouth doesn’t alter the sound at all (unless the mic is cheap and nasty). I use an iPhone attached to a seinmheiser clip mic ( http://www.bhphotovideo.com/c/product/1136079-REG/sennheiser_clip_mic_clip_mic_digital.html ) which conmects directly to the lightning port. Sticking something costing $15 on a hot shoe is NOT going to give you good sound. Two opposing wires are soldered together at each end to carry one pin of signal; the other two opposing wires are soldered together at each end to carry the other pin of signal. This is because the mic least sensitive to handling noise is an omni. Then Why Use a Parabolic Mic? If there’s a windshield, it will help, but may not eliminate this problem. Counter-intuitively, you really don’t want to get too close. ), I did have some successes with special 4-wire mic cables: four wires plus shield, with the wires tightly encased so they maintain constant spacing end-to-end. However, I recently bought a Rode NTG-3 shotgun microphone (originally purchased to record nature sounds with my kids) and I thought I would try it out on interviewing. Historically, AKG even made a verision of the legendary D12 (popular for kick drums!) DSLR cameras shoot great looking video but are known to (out of the box), in general, capture substandard audio. Wireless packs are the most common method of capturing the audio from interviews. You plug your lav directly into it, set the levels, hit record, and it will follow your subject wherever they go. At best, they are good for reference audio or providing some background NAT (natural sounds) as it will pick up noise from an entire set, with your interview subject sounding very distant. Use both shotgun and lavs for your interviews! T-shirts are a nuisance for this because the neck line is really not ideal. If at all possible, it is best to record two audio sources to two separate tracks. And if the thing rotates during an interview, you’ll still get something usable, rather than the person suddenly going off-mic. Amazing info that you have shared with us. The closer the mic is, the stronger the speaker’s signal will be, which means you’ll get significantly less background noise. I recommend a second microphone for recording the interviewer, maybe a lavaliere microphone or even the microphone on board the camera (I use the Rode Video Mic Pro on my DSLR). If you haven’t got enough hands, or an assistant, stick it on a mic stand! I’ve been telling everyone that using a lavalier is my preference over using a shotgun mic – generally. To capture quality audio when doing video oral histories with a DSLR camera, I definitely recommend recording with dual-source audio or using an external, tripod mounted preamp especially designed for DSLR cameras. Using Shotgun Microphones. On terminology, mic stands have boom arms, sometimes, The thing you get arm ache from, held over your head, is a fishing rod (fishing pole on the left of the Atlantic), and below is a proper boom, albeit with a posh backrest (never in my day!). to use in booms, with bass roll-off on the mic. Hand them the mic, and ask them to pull out about three to four inches from the top of their shirt or between a pair of buttons. Using a Lavalier Mic. As soon as a 2-lapel mic solution is provided for the iPhone I will be testing it. I’ve used, and had colleagues use, all sorts of stuff in booms on TV shows, from STC omni+ribbon cardioids, through AKG 451s, 414s and even U87s (which are a bit of a handful as they’re so heavy). Interviews and testimonials are often the backbones to many documentary and corporate video projects, so learning about audio recording is vital to a successful production. That’s why this type of microphone is the perfect choice fo an interview setup with many participants. I recommend a second microphone for recording the interviewer, maybe a lavaliere microphone or even the microphone on board the camera (I use the Rode Video Mic Pro on my DSLR). It’s a uni-directional microphone, which means that it picks up audio directly from the source and blocks ambient noise. Additionally, the “lapel” microphone seems really designed for men’s fashion. Ensuring you ‘get away with it’, incidentally, is the biggest single reason for using a pole mic close to the action. Keep in mind that longer shotgun mics are better at rejecting lower the off-axis frequencies. The loop actually serves two purposes; it makes the mic placement look neat, and it also creates a small amount of slack in the cable, which will help eliminate contact noise if the mic cable is accidentally pulled or rubbed. A ‘well-travelled’ SM58 ain’t gonna cut it in that context! That said, I did not have any video interviews lined up at the time. It contains useful information. It also keeps the mic dryer if caught in the rain (yup, I’m a Brit!). It\’s called AirLinc – we\’d love to know what you think!Luke. Lapel microphones are small, super reliable and discreet. Last night, I was searching for tips to choose best shotgun choke tubes then I found your blog I read it completely. However we commonly still use lavalier microphones for video interviews recorded in the field. Most wireless kits will come with a basic lavalier microphone. You want a decent condenser mic, that has a decently high output. If someone is going to turn away you won’t win, but most of the time small head movements don’t have the exaggerated effect they will if the mic is too close. Pickup patterns are different for each mic, but generally come in one of four patterns: omni, cardioid, hyper cardioid, and shotgun. No doubt I will be using the Rode NTG-3 microphone for future video oral history interviews and definitely experimenting with it for standard audio interviews as well. They are omni- as I said, but occasionally manufacturers have a brainstorm and produce a cardioid (or even hypercardioid) one. Understanding your mics allow you to use them more effectively. The downside of stand-alone recorders is that you aren’t able to actively monitor the signals during the recording. Once they have, take the capsule and use your clip to affix it to an appropriate place, about six to eight inches from their mouth. Shotgun Interview Microphones. Interesting to hear. They can have different pickup patterns from one mic to the next, which is worth looking into before selecting the proper mic. money (possibly because I recently purchased a super nice shotgun microphone). Sennheiser 416/816 family) are expensive for good reasons. In most interview settings, it’s completely acceptable to see the actual microphone itself, but you should try and “dress” the mic to make it look presentable. Clean ‘close mic’ sound with a personal mic is achieved because it’s very close to the mouth, compared to, say, a gun mic. We\’ve developed an app that allows you to remotely monitor and control your audio much like a bodypack system using two iOS devices and we\’re currently working on multichannel recording. For quiet speech that’ll be 65-70dB of clean gain (to line level), with headroom. If you’re working outside, get “dead cats” for your mics to help eliminate wind noise. The Rode NTG2, Rode NTG4+, Sennheiser MKH-416 and Sennheiser MKE 60, are all solid choices for a quality shotgun mic for interviews. 2. No matter if your interview is a seated one, or captured handheld while on the street, the most important thing to do is to get the mic as close as possible, without it entering your frame. However, if you’re doing seated interviews, using a mic that is on your camera is simply not the best choice, because it’s so far away from the source of audio (your subject’s mouth, in this example). With this mic, it works well out of frame. Boom Shotgun … You can read that here. The team at AirLinc and I were wondering if you have ever used an iPhone app + lapel mic type situation and if not, would you? This will get a great sound, and can be a bit less intrusive to the subject than having to clip a mic onto their clothes. People are either on-mic or off-mic. People rustle, rumble bump (and sometimes even grind!). 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