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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 :)

On camera mic for run & gun?

What would prevent you from using the very same mic that you posted? Isn`t it the same plug?

My best wishes!
 
assuming the Senn configuration on their mini jack is correct, you should be fine, since the mic is self-powered...
Just hang onto your receipt, since I doubt there is any way to know _if_ it will work till you get it...
AND
you'll need one of those nifty shoe-mounts like the one woodencamera sells for $25.

Stu Aull
S-X #00199
Alaska
 
There is a good chance that this mic will work. I can find no reference for how the TRS contacts are wired, but there is also nothing that suggests that this is a stereo mic. So I expect that it is a mono shotgun with either balanced or unbalanced output. Either of those should work with Epic/Scarlet.

Why in the world don't mic manufacturers put such basic information in their spec sheets?
 
The MKE400 is a great mic (for size/price)... but won't work in your Scarlet without a plug adapter. I thought it would... but found out first hand two hours ago that it does not. The plug adapters are dirt cheap though. You'll need a 3.5mm F-TRS to 3.5mm M-TS
 
Dylan Couper said:
The MKE400 is a great mic (for size/price)... but won't work in your Scarlet without a plug adapter. I thought it would... but found out first hand two hours ago that it does not. The plug adapters are dirt cheap though. You'll need a 3.5mm F-TRS to 3.5mm M-TS
Click to expand...

So it doesn't work in either balanced or unbalanced settings?

It sounds like it should work as an unbalanced source. But of course, that's without knowing how it's wired...
 
D Fuller said:
There is a good chance that this mic will work. I can find no reference for how the TRS contacts are wired, but there is also nothing that suggests that this is a stereo mic. So I expect that it is a mono shotgun with either balanced or unbalanced output. Either of those should work with Epic/Scarlet.

Why in the world don't mic manufacturers put such basic information in their spec sheets?
Click to expand...

Sennheiser website says it's got a 3.5mm Stereo Jack. I assume that means it won't work.
http://www.sennheiserusa.com/professional-camera-microphone-camcorder-microphone_502047

My setup is a Rode NTG-2 (battery powered), Rycote Push on Windscreen/Fur, Rode SM3 Shockmount, Windtech CM-80 Cold Shoe Adaptor and RED audio cable. I also got a welding rod holder to keep it all in, which is light, waterproof, cheap and RED ;-)
Everything goes in the holder as a assembled unit, so I can hike it in somewhere and have it on the camera in seconds. 6 oz with case and 2 spare batteries.
P3080011.jpgP3080014.jpg
 
Tried to hook up Sennheiser HF mics on my Epic today but no luck... Dunno what's wrong with the sound on this cam, why is it so complicated???

I need a run-n-gun setup as well, thought of the Rode that's pretty similar to the Sennheiser MKE 400 Ryan is talking about, but I read on the forum there's a modification to make...

Seemed so much easier on the R1...
 
Haha, sound mixer doesn't really say "run and gun" to me. ;) Of course neither does 4k RED either but its time for that to change.

I built a decent setup tonight using some stuff from wooden camera:
"Easy Plate XL" to add some mounting area (mounted it sideways)
"1/4 20 Cold Shoe"
"A-Box" this comes with a 19mm rod that can be bolted on so you can mount it anywhere there is a 1/4 20 screw socket

Then just battery powered my regular Sennheiser shotgun. its pretty sturdy but it would be nice to loose a few parts and cables and just mount a small mic like I posted before for soundbites.

I'm still a bit perplexed on what the difference is and why red used the method they did? I'm sure there is a good reason for it But it would be great if there was a tiny mic that just worked. It would be perfect for helping sync sound on other shoots too where a slate becomes a problem.

Are there any adaptors that could make my tiny Shure shotgun work?

I'm headed out to SXSW with a label and I'll be making a little hype reel. Audio isn't very important other than a few candid soundbites to add some color to the edit. So I don't need great audio, just decent, and as simple as possible. Of course I'll probably do some interviews, but for those I've got the A-box adaptor so I can boom & lav.

-Ryan
 
I wonder if we might be careful not to cloud the definition of run-and-gun. In the "industry" (sometimes I hate that word) it means a fast-paced shoot, not "bad sound." I've worked on a number of professional run-and-gun shoots where, if we had 10, or 50 or even 1000 camera ops with little mics on the camera, we would have achieved nothing without the Sound Mixers. A mic on the camera is great for capturing okay quality B-roll sound, but not dialogue (unless all the dialogue is delivered looking directly into camera from two feet). I think we'd avoid some bad mojo, particularly for those amongst us new to the professional side of film/tv, by calling it a B-roll set up or B-roll shooting or B-roll sound. I know it sounds like it's beneath our attention but accurate communication is so important in this business.

Sorry....just wanted to nip the confusion in the bud, not hijack the thread which I'm following keenly because I also need a b-roll mic for my camera.
 
Marc Wielage said:
The Sennheiser mikes need Phantom Power:

Hire a good sound mixer and this will not be an issue.
Click to expand...

Where can I get a phantom power "adapter", and are there stereo/mono issues with the pack?

You're missing the concept of run-n-gun and the point of this thread my friend! When I get money for my personal projects I'll hire people, for now I make my own personal projects on my own and would very much like the sound on my camera to work... We need solutions, not lessons... But thanks for the enlightenment!
 
I highly recommend the RODE VIDEOMIC PRO:

rode_videomic_pro_windschutz-560x378.jpg


http://www.bhphotovideo.com/c/product/744768-REG/Rode_VIDEOMIC_PRO_VideoMic_Pro_Compact_Shotgun.html

Here is how to make it work with the Scarlet:

http://www.reduser.net/forum/showth...-MIC-PRO-working-with-Scarlet-Epic&highlight=

For the price it is hard to beat the quality of this mic and it comes with 10-year warranty - something to say about the build quality as well...

You can attach it to the Scarlet via this:

http://woodencamera.com/hot-shoe

Peter
 
Peter Majtan said:
I highly recommend the RODE VIDEOMIC PRO:

rode_videomic_pro_windschutz-560x378.jpg


http://www.bhphotovideo.com/c/product/744768-REG/Rode_VIDEOMIC_PRO_VideoMic_Pro_Compact_Shotgun.html

Here is how to make it work with the Scarlet:

http://www.reduser.net/forum/showth...-MIC-PRO-working-with-Scarlet-Epic&highlight=

For the price it is hard to beat the quality of this mic and it comes with 10-year warranty - something to say about the build quality as well...

You can attach it to the Scarlet via this:

http://woodencamera.com/hot-shoe

Peter
Click to expand...

That's the one I had in mind, indeed it requires a mod, like cutting a wire inside...

Anyone can comment/confirm on the quality and use? Upsides, downsides...?
 
The RVMP is a great mic. The Mics built in preamp is nice, so you can lower the DB level of the Epic/Scarlet preamp, and crank the mic up to its +20db setting. The battery life is incredible as well, like 60-70 hours for 1 9V.

You may want to wait a bit as they will be releasing their new mic that has a built in recorder as well. Always nice to have a backup in case of an in-camera audio hiccup. See link below:

http://www.rodemic.com/vmhd
 
Yup - I am using this very mic (which is why I have recommended it in the first place). I have manual setting for fan speed (20% or less during record - depending on location's temperature, compensating with 100% when idle to cool down between takes) and you get a very useable sound (and I am underestimating here). I know the many will come and shout that we should burn at stake if we don't use an audio person. But there are many scenarios when sync (scratch) track is required, or I am just recording personal stuff (like my 1-year old son) - when "calling in an audio guy with his gear" is not an option. Also I do a lot of documentary work and in many scenarios I just need an ambient sound, etc... The key point here is that if you need a on-camera mic (for what ever reason that might be) - I would (and I did) go with the RODE. If You don't want to cut the wire inside - just use stereo-to-mono plug, works just as fine (until they re-enable the phantom power)...

Peter
 
D Fuller said:
So it doesn't work in either balanced or unbalanced settings?

It sounds like it should work as an unbalanced source. But of course, that's without knowing how it's wired...
Click to expand...

Correct, it does not work on either setting.

Here's a picture of the adapter you need to make it work:

IMG_3029.jpg


Ok, the pic is a joke, my buddy wanted to see how complicated a F-TRS to M-TS adapter he could make. :)
 
We have short bursts of way too much free time. :)

I'm so tempted to throw that on a 19mm rail rig now Chris!
 
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