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Where to Buy Equipment?
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“Why do you prefer wireless lav vs wired? I’ve only worked with wired, and I’m curious to learn more.”
You will learn that the upside of wireless is the flexibility of not having to worry about wires. In a fixed studio situation, not a big deal. But out in the field maybe the only viable option. You will also learn that wireless mic systems (mic, transmitter, receiver) that cost less than around $500 are cheap, fiddly, unreliable, waste of money plastic toys. And even high-price units are never as reliable or easy to use as plain old wire.
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I don’t prefer wireless over wired. Wired is always more reliable. But if your subject (or subjects) are moving around in the field, going wired isn’t a good option.
The first lav I bought was a wired Tram TR-50. I still use it a lot. But, I’ve done many shoots where it could not be used, and wireless was the only way to go. Richard’s totally right about avoiding cheap wireless systems at all costs. Anything under $500 is a total waste of money.
Since your video camera has XLR inputs, the question you should ask yourself is:
“What’s the maximum number of people that you’ll have to mic up for a shoot?”
Answer that, then you’ll be able to discern if you’ll need a mixer.
As far as your audio interface goes, the DIGI002 is pretty decent. I used the rack version of that interface for a few years. Practice your Pro Tools chops and you’ll be fine. Remember to back-up all of your data to avoid losing work.
Since you have a decent budget, you should probably get a couple of good shotgun microphones. Like Ty suggested, having a hyper-cardioid small condenser for indoor shoots, and a longer shotgun for outdoor shoots is a good idea. I use the Audio Technica AT4053b hyper-cardioid for interiors, and the AT4073a for exteriors. They sound great, they’re built really well, and they’re not nearly as crazy expensive as some of the other options out there. Getting proper wind protection for the outdoor mic is a must.
You should probably get a good boompole. And for studio work it would be a good idea to get a C-Stand and a boompole cradle. This allows you to fix the mic over the talent’s head in the studio (the stand holds the boom for you). It works decently if your talent is stationary. I like to do this, and have them wear a lav as well.
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