Microphone techniques and choices for video production work are very different from what they are in live sound reinforcement. In sound reinforcement, for example, the goal is gain before feedback with sound quality a close second--because if you can’t get the input loud enough before it starts squealing, the sound quality is pretty much irrelevant. In video production though, audio quality, low internal noise, and keeping mics invisible are the more cherished attributes.
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“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 unwanted 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.’”
Close up and personal
Mic’ing 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 of 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 minimal background noise.
When the desire is for the microphone to be invisible to the camera, there are two basic approaches: A lavalier 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.”
Think ahead
“Once you understand your workflow,” says John Born, senior project manager for Shure Inc., “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. Oftentimes, bad audio is caused by simple mistakes, and monitoring and testing your audio before the shoot ensures you won’t be surprised later.”
Some sound selections for video production in the church setting follow.
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
Audio-Technica | 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’s 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
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
Sennheiser | 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. MSRP: $259
Shure Inc. | 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 consistently professional results. MSRP: $199
Shure Inc. | 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
DPA Microphones | d:screet CORE 6060 Lavalier Microphone
The 6060 Subminiature is an ideal choice for video interviews and/or live. Its high sensitivity makes it work well for speech, and at only 3 mm in size, it can be concealed beneath the clothing or mounted as a standard lavalier option. MSRP: $550
DPA Microphones | 4017B-R Shotgun Microphone
The 4017B-R is a standard shotgun microphone with Rycote wind-jammer. It is immune to RFI noise and humidity and extremely light. MSRP: $2,169.95
Countryman Associates | E6 Omnidirectional Earset Microphone
The E6 is the company’s most popular microphone and an ideal choice for times when the microphone may be discreetly visible. MSRP: $515
Countryman Associates | B6 Omnidirectional Lavalier Microphone
The B6 Lavalier is the smallest lavalier in the world, according to Countryman, and its most popular microphone for when the mic must be hidden. MSRP: $445
Editor's note: Sennheiser is a sponsor and exhibitor of Church Production Live Events' Capture summit, a conference focused on video production in churches. The company’s Robb Blumenreder, commercial manager - audio for video, forecasts, “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’ll also be] 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.”
