#2. "RE: Microphone for D7000" In response to Reply # 0
Whatever you get - practice first. The mic in the camera body is multi directional, picking up AF and VR sounds - and the noise of guests at the side or behind the camera. Any stereo mic with a windshield and 3.5 stereo jack is better than the in camera mic - with a couple of howevers. The jack plug is 2 stage - pushing part way in disables the in camera mic - but unless you push the jack fully home you get no sound. The mic also has battery power - with an on off switch - off means no sound It would be wise to practice - videos of marriage vows need sound Back to the Nikon - it is designed to take power from the camera hot shoe - eliminating the "on or off" sound challenge.
Photography is a bit like archery. A technically better camera, lens or arrow may not hit the target as often as it could if the photographer or archer does not practice enough.
#7. "RE: Microphone for D7000" In response to Reply # 2
>The mic in the camera body is multi directional, picking up AF >and VR sounds - and the noise of guests at the side or behind >the camera. >Any stereo mic with a windshield and 3.5 stereo jack is better >than the in camera mic - with a couple of howevers. >Back to the Nikon - it is designed to take power from the >camera hot shoe - eliminating the "on or off" sound >challenge.
I just got my Nikon ME-1 mic but have not done the testing yet to see if it picks-up any back ground noise such as the lens focusing noise. It has a low-cut switch at the back "flat" or normal and low-cut. Very simple mic, cheaper than the other brands and no batteries required as already mentioned. It comes with a soft cloth carrying pouch. It's made in China and mine cost 11,300 yen which is around $126 USD.
#4. "RE: Microphone for D7000" In response to Reply # 0
St Petersburg, RU
There is no one answer for field sound recording since every acoustic sound source and environment is going to need some creativity to optimally capture intelligible sound. It is as much an art as science and is no less, probably more, dependent on skill than the photography.
First off, the mic in the camera is, as mics go, quite good...good frequency response, a uniform polar pattern and good sensitivity. The problem is location. It picks up mechanic sound of focusing and hand holding through direct mechanical conduction. The same mic element isolated from the camera case would have much lower ambient noise. The shoe mounted mics that are popular have that one advantage, it is isolated from the case.
If outdoors, the mic must be protected from reacting to air movement, and ambient noise we tend to filter out of our consciousness and not notice until played back as a recording. All those noises here really there and being sensitive to them is not a sign of a bad mic, just bad mic'ing technique.
Acoustics of the environment plays a greater roll in the quality of the recording by far than the quality of recorder or mic. The further from the sound source the more the recordist is giving control of the recording to the room or environment than himself. Getting closer to the source with the mic will deliver more bang for the buck by far than spending $4,000 on a mic. There are lots of ways to get closer, an overhead mic, usually a highly directional one like a shotgun mic, works very well. You have likely seen a pull back shot of a news program or variety show where the boom mounted is seen sitting only a foot above the head of the speaking talent, but just out of normal camera view. There are mics that are onmi-directional that also reject some reflected sound waves, such as the Pressure Zone Mic, or PZM. It is mounted directly flat on a table top or floor, a flat or gobo or other large flat surface. They can be quite inexpensive, Radio Shack used to have one that was easily modified for balanced line that was only $60 yet performed very close to the Crown $600 PZM mics for this sort of application. A wireless mic on the minister can be very effective and need not be expensive. He can act as the mic stand, mount it low enough so his voice is about the same distance from the bride and groom. If you want an all purpose shoe mounted directional mic, it can work OK if you are always quite close to the sound source, 3-4 feet but doubling the distance drops desired source level 4 times and room reverberation quickly over takes the intelligibility of the speech.
There are no mics that sound good plus work at a long distance, highly directional mics used for distance such as the parabolic mics used on football sidelines are there for ambient noise and occasionally a yelled quarterback call can be heard. Distance and frequency response also have an inverse relationship with each other.
I read it often said that shotgun mics are good for distance recording but that is a misunderstanding of the concept. A shotgun designation refers to the hypercardoid polar response, how much rejection there is of sound coming from specific areas from the sides of the mic. You have to match the polar response characteristic to the directions of most desired rejection, while accepting the distortion of the polar response that each different style of direction pattern creates. For example if you want to reject sound from the rear of the mic, a cardoid pattern mic is useful but it has a strong response to the sides. A HyperCardoid mic has strong rejection from the sides but a number if lobes of sensitivity towards the rear. A Bi- Directional mic, sometimes called a Figure 8 mic has strong rejection at 90degrees but equal sensitivity at 0 and 180. It is very good for micing a conversation between two people facing each other. An Omni directional mic has equal sensitivity throughout 360 degrees and have the most natural sound without proximity effect, the trait of directional mics to boost low frequencies when the sound source gets within about 1/2 the diameter of the diaphragm. That is the familiar "FM radio announcer's voice" where it sounds low and intimate. Backing up 2 or 3 inches returns their voice to normal. Camera video only records when shooting. That is a problem for sound, in that continuity must be maintained even if the video camera angle changes. A cheap work around so you do not have in invest in expensive synchronizing gear, is to record camera slate and let scenes start and stop with the camera but record production audio continuously with external pocket digital recorder. That was any scene cuts in editing will not lose any sound continuity. Lay the video clips onto the audio bed, that forms the time line of the project. Zoom makes a dandy little 4 channel recorder that will put a $25000 Nagra to shame. It is cheap and tiny, with built-in stereo mics. Just put the thing in the flower arrangement near the minister and couple. Turn it on and let it run for the duration of the ceremony. If you are going to involved with video production, sound is going to be another aspect that will require more care and consideration, and practice than most people think. Sound that is noisy, distorted or unintelligible will ruin the project even faster than a scene out of focus or over exposed. People are used to high quality sound surrounding them on TV, Movies and records so they may not detect whether it is good, they can certainly detect instantly whether it is bad. Take a course in sound for film at a film school or start studying on your own. It is better to have a music bed as backing track to a video than bad vocals. Good luck, if you have questions, just ask.
#5. "RE: Microphone for D7000" In response to Reply # 0 Mon 09-May-11 10:34 AM by rodsky77
I have the Rode Video Mic Pro, it's good, much much better than the in camera mic.
You will need a wind cutter/jammer for your mic (you can get one from www.windcutter.com) - if there will be any wind, you will hear it on your video if you don't have a wind cutter. The Windcutter model is better than the Dead Cat from Rode as it also covers the back of the mic - not having the back of the mic covered, will also generate wind noise.
This mic still won't give you the perfect audio, it picks up AF focusing noises from the lens (that is if you use AF on a larger lens like the Nikon 17-55 f2.8) - I would suggest using manual focus.
If you want the perfect audio, a combination of the Rode Video Mic Pro mounted on the D7000 and a separate Zoom H2 or H4n recorder on a stand next to the altar to pick up the ambient and conversation sounds would be best.
You can use the Rode mic to have backup/scratch sound and to make it easier to sync to the separate audio from the Zoom recorder in post prod.
I don't have the Zoom H2/H4n, but I've read enough reviews and heard enough sound test comparisons to know that this is what I would get if I wanted to get the best possible sound without spending a fortune. If shooting weddings with perfect audio would be a repeating gig, the H4n would be the one to get, it's much larger than the H2, but it produces much better sound.
#8. "RE: Microphone for D7000" In response to Reply # 6 Mon 16-May-11 02:31 PM by RRRoger
Monterey Bay, US
I now have two low cost mount on camera mics that I use and like.
Audio-Technica ATR6250 Stereo Condenser Video/Recording Microphone The Sound quality is actually very good and I have been using it since getting my D700. I had to tape the sides to limit the background noise. B&H $33
When I added the D5100, I also wanted a backup mic.
So far this one has been superior I have no high quality playback devices nor the ear to properly evaluate them. But I can tell you that they both sound a lot better than what I get with the in-camera mics.
Azden SMX-10 Stereo Microphone B&H $66 Has a rubber isolated hot shoe mount and switchable Low Frequency Filter.