Its primary focus is to capture over long distances. To give you an overview of this mic, the Audio-Technica AT8015 Shotgun is a line gradient condenser, phantom or battery-powered, shotgun mic. The Audio-Technica AT8015 Shotgun has proven to us it is currently the best budget microphone, offering the most features for the lowest price. Also, it works with a sliding rail mount. The microphone uses the Rycote Lyre shock mounting system with cable management. Additionally, the switchable safety channel records an additional channel at -20dB if the main channel just so happens to clip. The VideoMic NTG has a high-pass filter (75Hz or 150Hz), – 20dB pad, high-frequency boost, and safety channel. It would work for both cameras (TRS) and mobile devices (TRRS). There is also an Auto-sensing 3.5mm output that automatically switches between TRS and TRRS. Users are able to adjust the mic’s output from mic level to line level to headphone level. This mic has a highly directional super-cardioid polar pattern and infinitely variable gain control. The VideoMic NTG can be used in many different setups: on-camera with DSLRs or smartphone rigs, on a boom pole or as a USB mic for recording voiceovers, podcasts or live streaming. The VideoMic NTG offers everything that we’ve become accustomed to in the NTG series, combined with features from the VideoMic lineup. Røde’s NTG shotgun microphones are typically known for being lightweight, on-the-go microphones capable of delivering broadcast-quality audio. It’s expensive but the MKH-416 is a quality product that you can rely on. The MKH 416-P48U3 also has a foam windscreen to reduce unwanted wind noise.ĭesigned specifically for film, radio and television work, the MKH-416 has a durable all-metal body ready for hard use on set or on location. The MKH 416-P48U3’s RF condenser design makes it highly immune to moisture, allowing you to reliably capture high-quality audio in normal and adverse environmental conditions. When your work takes you outdoors, you’re bound to encounter humidity and condensation, which can cause many mics to fail. This particular microphone has extremely powerful directivity meaning you will always get an incredibly tight and focused recording, no matter where you’re recording.
The mic is responsive to frequencies between 40 and 20,000 Hz and has a hypercardioid pickup pattern that begins to narrow into a lobar pattern above 2 kHz.
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While not a small investment, the Sennheiser MKH-416 Short Shotgun Interference Tube microphone is an industry-standard that can be spotted on Hollywood sets and professional independent productions alike. At the end of the list, we’ll go over the most important factors to consider as you shop for your next mic. Here are our picks for the best microphones for video production in several categories. That means you need the right microphone for the job. Techniques that many films use - such as audio editing, ADR (automated dialog replacement, also known as dubbing or looping), remixing and sound sweetening - occur in post-production and can be very time-consuming as well as expensive.īecause sound plays such an important role in audience perception, it’s important to get the audio right. Having the best microphone possible is an important element in achieving good sound.
In fact, sound in cinema can be very deceptive. Surprisingly, many film festival programmers rate sound quality as the element they weight most heavily when looking at entries.
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Ever watch a low-budget movie and wonder, “How did this film make the cut?” The cinematography may have been average, the story derivative but - the sound! The quality of the sound design may be the reason the film made it onto the screen.
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