As I mentioned last time, in honor of my SALT class on getting better audio for video, I’ve dug up some of the very first posts I wrote for ChurchTechaArts, way back in 2007. The previous post focused on the reason for close-mic’ing your talent, and how to use handheld and shotgun mic’s for that purpose. Today, we’ll consider a few other options.
My second favorite way to mic interviews (after a shotgun mic), is the wired lavaliere. I have used these extensively professionally with great results. You don’t have to worry about interference and the sound quality is excellent. For wired mics, I really like Sony’s ECM-77, though the ECM-66 and 55 are pretty good too. The 77 is great because it is tiny, can be hidden almost anywhere and sounds terrific. If you can’t find those, the Countryman B3 or Tram TR50 are great options. DPA also makes some fantastic (and fantastically small) lavs, though they are spendy.
Ideally, you would use a wireless mic that has a camera mount receiver, such as the Shure FP series. The wireless option gives you the most flexibility because you have no wires to connect you to the talent. As long as you stay in range, and choose a clear frequency, things work great. Be wary of cheapo wireless mics, however. If a camera mounted receiver and body pack combo doesn’t cost $400-500 at least, keep looking.
The other big downside to wireless is the simple fact that the RF spectrum is shrinking as the Federal government keeps selling it off. We already lost the entire 700 Mhz band, and it looks like we have about 3 years to vacate the 600 Mhz band. When you use a wireless mic, you’re competing with everything else in the area for clear spectrum, and that’s going to become harder. My rule of thumb is that if the talent isn’t moving, there’s not reason to not wire them.
Another Wireless Option
A final option is to use a wireless mic that you would use in a live sound application. I used to do this a lot at church because we didn’t have a camera mount wireless system. I’d just take one of the Shure ULX-P (back in the day) mics, set the receiver on the floor next to my tripod, and strap the transmitter on the talent. It works great, though it is a bit of a pain every time I move the camera.
Plugging It All In
All of the applications are assuming your camera has XLR inputs to work with (though the camera mounted receivers usually come with an 1/8″ cable). Each of these mics are professional grade solutions for prosumer cameras and above. If your camera has only a 1/8″ mic jack, all is not lost. You might be tempted to make up an adapter to take XLR to 1/8″. Don’t do it. The pre-amps on consumer grade equipment will not function well with these types of microphones.
The better solution is to use an adapter box made just for this purpose, such as the ones from BeachTek. They have a variety of solutions that include phantom power, metering and variable gain. They are well worth the investment (as low as $199).
Now that many people are shooting with DSLRs, a better solution is to buy a small recorder from Zoom or Tascam and capture your audio that way. I’ve shot quite a few trade shows with a Tascam DR-40, and it works great. I have a headphone Y-cable on the headphone output jack and take one side to the mic input on my DSLR (for later audio synchronization) and use the other for monitoring.
Finally, when you are recording, plug some headphones in and listen to what you are recording. I am amazed and confused when I see people recording audio, but not monitoring it (and I’ve seen it with professionals as much as non-professionals!). When you listen in, you can hear trouble before it is too late. Make sure you use good headphones that provide good isolation. I’ve been burned before using cheap “walkman” type headphones and thinking I was hearing clean audio, when what I was really hearing was the person talking in the room.
Hopefully you’ve found this helpful and you will be on your way to making better, more effective videos that will tell the story without being distracting.