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  • Hey all, just changed over the backend after 15 years I figured time to give it a bit of an update, its probably gonna be a bit weird for most of you and i am sure there is a few bugs to work out but it should kinda work the same as before... hopefully :)

Best On-Camera Mic for Scarlet / Epic

Peter Stelzhammer said:
side-question; how often do you record varispeed/slomo-shots?
for that part it's not a bad idea to carry at least a small flash-recorder (SD-card or such) to get some basic ambient sound even when recording without internal camera-sound...
Click to expand...

Pete - that's exactly why I was hoping to find a product like this one:

http://www.rodemic.com/news/announc...orlds-first-digital-recorder-video-microphone

This was announced well over a year ago but still has not yet come to market. I love to idea of recording to a dual system, even when I don't have the luxury of a dedicated sound mixer. This seemed like an extremely elegant one-man-band solution.

In truth, I don't shoot slow-mo very often, but of course it does happen, and yes I want the ambient sound, and yes I prefer a dual-system always.

I can't find any other mic products similar to this non-released Rode. Any suggestions? Insider info?

Thanks,

- Jordan
 
Jordan Livingston said:
Thanks, David. Decisions, decisions!

Rode NTG2 vs. Ambient TinyMike vs. Sennhesiser MKE600. Shall we take a vote?

- Jordan
Click to expand...
The Rode has been a great versatile mic for me, and can also be used as a conventional boom mic in ENG situations.
I have seen it used as a spare in actual network drama productions, and the results were approved by post.
Howver, the TinyMike is better scaled to the camera size and mounting than either the Rode or Sennheiser.
I do not know if the power and cable set up is Scarlet compatible.
If so, I would buy that mic.
I don't think the Senn is as good a value as the Rode in this case.

the Sennheiser 416 is very worth looking at, as it is humidity and RF resistant and otherwise near indestructible.
All of these need to be "armed" away from the fan ports, or you will record that.. also all of these setups should use wind protection and shockmounting.
 
Christopher

I have the Sennheiser 416. What cable do I need to plug into my epic? xLR TO 3/4?
THANKS
DIO
 
Beats me, I have an R1, and record double system sound on most gigs that can afford an Epic.
However, I think you would want an A-box for this mic. If the Scarlet and Epic passes phantom power through the A-box. (I really don't know)
 
On an earlier question, why would you use a y-cable? -- if you're using a single on-board camera mic, you may well want to feed signals to both channels with slightly separate gains to protect from clipping.

If you're on a budget, the Rode mics are great -- and I would also consider the Sennheiser K-6 system and especially ME-64 -- super cardoid, not shotgun, but depending on what you're shooting, it has some avantages off-axis and is quite pleasing -- and you could quickly switch to Me-66 shotgun capsule when needed -- once you have the K-6 powering-electronics module, you only need to purchase the mic capsules which are just over $200 each and pretty robust.

Sometimes you can get a good deal on a Senn 416 -- I'd say it's worth considering.

To echo what others have stated, the audio boards on the Epic/Scarlet are first class. It's always a challenge to get decent one-man-band audio.
 
I'm still not clear on whether the "stereo-to-mono" Radio Shack adapter solution will work to capture stereo from the Rode Stereo VideoMic Pro. I realize with the stereo signal coming out of one 3.5mm jack, it will require multiple adapters. Will a stereo "y" work plus two of the RS adapters?

Thanks,
Phil
 
Phil Bates said:
I'm still not clear on whether the "stereo-to-mono" Radio Shack adapter solution will work to capture stereo from the Rode Stereo VideoMic Pro. I realize with the stereo signal coming out of one 3.5mm jack, it will require multiple adapters. Will a stereo "y" work plus two of the RS adapters?

Thanks,
Phil
Click to expand...

Hi Phil, for the STEREO version of the RODE VIDEOMIC PRO you just need a Stereo-to-2xMono, like this:

pRS1C-2266515w345.jpg


Cheers

Peter
 
Jordan Livingston said:
Dear Dave,

The Schoeps is out of my price range, I'm afraid.

Does anyone know how the Ambient TinyMike compare to the Rode NTG2?


- Jordan
Click to expand...

TinyMike requires both phantom power and special cables for the tinymic plug in side of things; the posts on BH are very confusing! Found this out the hard way (returned product) as I was also smitten with that smaller weight mic idea! I also had trouble with cables/audio quality until I went back and bought Red's mini jack cables... Good luck to you :)
 
Peter Majtan said:
Hi Phil, for the STEREO version of the RODE VIDEOMIC PRO you just need a Stereo-to-2xMono, like this:

pRS1C-2266515w345.jpg


Cheers

Peter
Click to expand...
or you can also search this forum and take the RÖDE apart and cut a wire.. I think it was the white one. Did it once it only takes like 2 minutes. Then the mic works like a mono.
 
My favorite solution to this is to attach a Zoom H4n with a small fuzzy wind sock using a RED arm to the top of my camera, run a short stereo to split mono cable out of the headphone/line out jack of the Zoom, then connect the split mono cables to the front of my SCARLET.

So far, this solution is awesome for personal projects because I can either use the Zoom H4n's onboard stereo mics (which actually create a pretty decent stereo image), or use the two XLR inputs in the back of the Zoom (which can be phantom powered to +24v or +48v), and feed the audio through to my SCARLET. I've had great results, and it's nice to have dual-system audio and have the Zoom save it's own copy of the audio to it's internal SD card.

Plus, if you really want to go crazy, you can record all four channels internally to the Zoom, use the audio that it sends to the SCARLET as reference, and re-sync everything in post.
 
Peter Majtan said:
Hi Phil, for the STEREO version of the RODE VIDEOMIC PRO you just need a Stereo-to-2xMono, like this:

pRS1C-2266515w345.jpg


Cheers

Peter
Click to expand...

Wow, can't seem to find this anywhere. Peter, where did you get this image? Also, does the cable need to be shielded?

Thanks,
Phil
 
Burke, have you tested whether the headphone jack of the Zoom adds any kind of delay? With most digital devices it takes a few MS to process the sound and put it out the jack. I would be concerned about potential sync issues doing this.


Burke Doeren said:
My favorite solution to this is to attach a Zoom H4n with a small fuzzy wind sock using a RED arm to the top of my camera, run a short stereo to split mono cable out of the headphone/line out jack of the Zoom, then connect the split mono cables to the front of my SCARLET.

So far, this solution is awesome for personal projects because I can either use the Zoom H4n's onboard stereo mics (which actually create a pretty decent stereo image), or use the two XLR inputs in the back of the Zoom (which can be phantom powered to +24v or +48v), and feed the audio through to my SCARLET. I've had great results, and it's nice to have dual-system audio and have the Zoom save it's own copy of the audio to it's internal SD card.

Plus, if you really want to go crazy, you can record all four channels internally to the Zoom, use the audio that it sends to the SCARLET as reference, and re-sync everything in post.
Click to expand...
 
Jim,

No, I have not scientifically tested whether the Zoom setup adds any delay, but I can tell you from experience that this setup does not add any "noticeable" delay, and if there is any at all, it's far less than 1 frame on a 23.976 project timebase. I can run a test with a project timebase at 59.97 and see if that is any closer to a "frame-measurable" delay.

From most of my research, the Zoom's latency really shows up as a USB to computer audio interface, but using the 1/8" line out interface, it seems to be less than 5ms.

I am interested in testing out the new Zoom H6 as well. That may end up taking the Zoom H4n's spot in my arsenal.

For smaller or personal projects, the Zoom setup seems to hold its own.
 
You can spend months researching, debating and reading opinions about camera mounted dialogue sound. The best solution is to hire a Sound Guy with time code to the camera, a Sound Device “SD,” a Schoeps boom and Lectos laves or better on talent. Eventually you will learn, hopefully not after spending a ton of money, the Schoeps CMC641 is the best camera mounted option as Dave Blackham mentioned. So if it’s out of your price range just go with the H4N solution Burke Doeren described until you can afford a Schoeps. There is great sound (641 + Sound Device + Red) and scratch that can be cleaned in post. The money you will spend on anything between the two will not result in a significant audio difference however, if just have to have a mic, the only alternative I would recommend is the Audix SCX1/HC.
Best one man Run&Gun setup: 15mm lightweight with O’Box & shoulder mount directly under Brain (use Brain cap), an A mount on the back of the shoulder mount to mount (offset) brick. The O’Box serves as your handles. Schoeps mounted to a INV 7 attached to magic arm mounted to the top of the O’Box. Use the Baby Ball and Muff. A SD MixPre, 302 ect. slung in a harness. So basically, a camera mounted on a Sound Guy. The sound is incredible and you don’t have to sync in post. It’s all about the workflow. If you have an AC, then get a whip and a IKVH8E6 mounted to a 2nd magic arm. The peaking filter on this works incredible well with a Epic/Scarlet so much so you won’t even hesitate to use a 50mm f1.2 prime. Your screen or EV is on a 3rd arm mounted on the side of the O’Box. The camera fully rigged with the above is 22lbs. The bag harness and SD weight varies depending upon the mixer and brand of bag but a 442 and Petrol with harness is about 10lbs
 
pinned (for later reference)
 
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