i think you are mixed up if you are asking us what price range to look at... its the other way round mate. You tell us how much you have to spend and we tell you what is the best in that price bracket.
Backstory: My modem and phone line got fried by lightning back in August (I think) so now, I'm finally back online. I'll get back in the conversation soon...heh.
I'm also back into making a movie with a friend of mine, and we've got a good amount of it written and hope to start shooting in a month. However...
I'm looking for a good external microphone to plug into my Sony TRV-17, and if that won't be good enough, I'll plug it into my minidisc recorder to record sound.
It'll be the only mic we use. What kinds of features should i look for? Price range? Any help is appreciated, thanks in advance.
-mendon
i think you are mixed up if you are asking us what price range to look at... its the other way round mate. You tell us how much you have to spend and we tell you what is the best in that price bracket.
It your mike and sound input device don't have an XLR connector, don't bother.
Alex i dont wanna start an argument but thats pretty **** advice.
Getting any shotgun mic up close to the subject XLR or not is going to give better sound than the inbuilt mic.
Ok, I'll add to the list.
Don't use an XLR mike on your camera for audio either. [img]wink.gif[/img]
The Microphone should be separate from the camera so that the axis of the microphone can be completely independent of the camera angle, movement, and position.
Once you adopt this rule for your dramatic films, you'll need longer runs of audio cable, hence it needs to be XLR for a variety of reasons.
An exception to this rule would be an E.N.G. style interview. In this instance the microphone can be on the camera because the person being interviewed is talking directly into the camera by design. (On paying gigs it's usually a 2 or 3 person crew, including an actual sound guy with a boom pole for more focused audio in loud places).
As for whether it's better to do audio incorrectly by keeping the mike on the camera for dramatic movies versus not doing the project at all, that's a tough call.
i dunno if you come from the same planet as me...
but using an internal mic presents loads of problems... internal motor niose, camera operator nioses, the zero ability to capture sound when someone is not facing the camera, the zero ability to capture sound of someone on the other side of a room, ambient nioses in the background being louder than the subjects, lack of any decent wind covers, etc
Even a ?70 cheapo Audio technica mic with its bog standard connection is going to be an improvement since you wouldnt get any of the above problems even if it doesnt give the greatest sound quality in the world. Go listen to the audio on any of Untamed Aggressions movies and you will see (or hear) the limitations of an internal mic straight away.
<font color="#a62a2a" size="1">[ November 22, 2003 12:00 PM: Message edited by: belovedmonster ]</font>
<font size="2" face="Verdana, Helvetica, sans-serif">Perhaps thats why you give ****** advice... becos you dont understand and are easily confused.I didn't understand your post, I'm confused
excitable
<font size="2" face="Verdana, Helvetica, sans-serif">If you think the above advice is BS, perhaps you need to "step away from the car".Originally posted by Alex:
Ok, I'll add to the list.
Don't use an XLR mike on your camera for audio either. [img]wink.gif[/img]
The Microphone should be separate from the camera so that the axis of the microphone can be completely independent of the camera angle, movement, and position.
Once you adopt this rule for your dramatic films, you'll need longer runs of audio cable, hence it needs to be XLR for a variety of reasons.
An exception to this rule would be an E.N.G. style interview. In this instance the microphone can be on the camera because the person being interviewed is talking directly into the camera by design. (On paying gigs it's usually a 2 or 3 person crew, including an actual sound guy with a boom pole for more focused audio in loud places).
As for whether it's better to do audio incorrectly by keeping the mike on the camera for dramatic movies versus not doing the project at all, that's a tough call.
im sure all the technical information is correct... im not disputing you know what you are talking about in that respect.
What i have a problem with is the fact you dont seem to have any common sense mixed in with all that technical info you have.
You are telling a guy not to bother unless he is using XLR equipment... that is the BS part. As ive pionted out there are many problems with using the internal mic on the camcorder and as such using an external mic of any kind whether its XLR or otherwise will be an improvement.
This guy could quite easily get an Audio Technica ATR55 which is not a XLR mic and could run it on a bog standard audio wire over a few metres and it would still be a dramatic improvement over using the internal mic in many circumstances and its becos of this saying you "NEED" XLR is rubbish
<font color="#a62a2a" size="1">[ November 22, 2003 01:38 PM: Message edited by: belovedmonster ]</font>
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