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01-30-2014, 10:58 AM   #16
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PiDicus Rex's Avatar

Join Date: May 2013
Location: Melbourne, Australia
Posts: 1,126
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Bob: At the moment I don't, but I work with Audio guys that do,...

The Rode NTG-2 is pretty much the defacto standard, with the NTG-3 for the better budgeted gigs,...
Then you get those guys for whom anything less then a Sound Devices 788 recorder is 'the absolute minimum,..' who use obscure brands of microphone that cost more then a nice second hand car.
(For that matter, the RodeNTG-3's cost more new then a secondhand TP Magna or AU Falcon )

The choice of what Mic is very dependent of what I'm filming.
The onboard mic is fine when doing live music gigs, because 90% of the time, we record a feed direct out of the Audio Desk to two channels of a Zoom H4n (or equivalent), with the Zoom's own mics recording the 'live' sound with the audience and room sound.
Recording interviews for TV, a pretty deaf handheld is used (especially at motorsport gigs), mostly to loose all the background noise, often recording direct to whichever camera we're using, via a Beachtek or similar two channel mixer.
For film and dramatic work, again the main audio recording is done separately, and again with Rodes and the like, and even a cheap Radio Shack shotgun mic will do for making sure actors voices, and more importantly the sound of the Clapper Board, is recorded clearly enough to sync the audio and vision later. The Rode Video Mic is a pretty common sight on top of a DSLR/MILC for doing just that.

Here's my purchase list for what I plan to spend my ill gotten gain on,..
Tascam DR-60D
Pentax K3
Rode NTG-3
And depending on what Pentax does with the K3 firmware, probably and Atomos Samurai Blade and Atomos Connect HDMI to SDI convertor.
If Pentax can implement CinemaDNG Raw to SD card, the Atomos becomes surplus.

I already have Boom Pole, Microphone Blimp, and a heap of other accessories, trying to get to a point where I need people more then more equipment.

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