Danny Grizzle
Forum Replies Created
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What’s not to like? I’ve played around with my Tascam TM-ST1, and it is not a deplorable mic. In fact, even if you have better, something like this might be useful as a plant mic or simply for ambiance or redundancy.
I am an advocate of high quality mics whenever possible. The lavaliere review Noah posted is very interesting. I own 3 of the 4 lavs tested, some in multiples, plus others (Countryman), plus an assortment of Sennheiser MKH series wired mics, which are superb. Still, reality is everyone approaches audio for DSLR production from different perspectives. The little Tascam is an amazing value for $20, better in my estimation than some nationally advertised video microphones (biting my tongue to not name names…)
My recommendation on a quality entry-level microphone for DSLR is Rode Video Mic Pro, with furry cover for exterior wind control, a Rode Boom and Rode extension cord. The Rode lavaliere with full compliment of connectors is fascinating also, and it seemed to review well. I’ve never seen or used one. These two mics cover the basics fairly well.
There is a lot more discussion on cameras and lenses than you will ever hear about audio, but if anything, audio is the most important component of quality video production. No exotic technique, lens, or photographic device will compensate for a lack of audio quality. This is a fundamental that is too often overlooked by neophyte producers. Before you go chasing anything else, any wild device or technique in production or post, get audio fundamentals down cold.
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You cannot fix poor audio recording in post.
The only way to record good audio is to position the mic close to the sound source.
Period, end of story.
Everything else — what recorder you use, what microphone you buy — is a footnote to the fundamental facts above.
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Yes, you cannot go wrong at this price as an alternative to the camera’s built-in mic.
The desktop stand is not a little tripod or anything, it is simply a heavy, nicely machined pedestal that is substantial enough to act as a base and ballast. You can see it in the product photos on the Tascam website. It is heavy enough that, if you pull the mic cable, it will slide on the tabletop, not topple over.
Remove the base, and you have a very conventional mic clip that can be mounted on any standard mic stand.
The permanently attached cable is about 4′ long. Annoying long for use on camera, and a little short to position away from the camera. I would add an extension cable to my kit. This being such a common size, it should be possible to find one at little or no cost in the wire bin of a computer store. The connector is the same size and type used for speakers on PCs, or headphones on an iPod. Or you can order the Rode extension cable for $10.
For use on camera, Sound Professionals sells a cold shoe mic mount for about $10.
The mic is powered by a single AA battery.
This is really an insanely cheap way to add a stereo mic to a DSLR.
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Judging from the three segments you posted links to, I’d say a short wide angle zoom is what you need, not one of those telephoto monsters reaching out to 200mm.
Remember, 35mm is more or less a “normal” focal length on a crop sensor camera. I’ve got a Canon 16-35mm f/2.8, and I can tell you it is set to 16mm 80% of the time.
If you anticipate working in close, like the awards ceremony footage, you need way wide. If you are working with the camera mic or a mic mounted on the camera, you need to work in close. For something like the studio segment, the 50mm will work great. The McDonald’s segment could go either way. Sometimes, a zoom adds flexibility because of tight quarters and no room to back up.
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OK, looking at Tascam’s website, I’m not certain this mic does not include a built-in mid-side decoder. Which makes more sense, given the consumer target. Mom and pop recording their kid’s high school orchestra would not know what to do with true mid-side output.
Tascam says, “The recordist can select between 90 and 120 degree pickup to capture more ambience or to reduce background noise.”
Even so, the two channels should still sum to mono nicely.
I bought the mic several months ago on impulse while on the Sound Professionals website for something else. Maybe I should play with it a little bit…
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I really can’t pick lenses for anybody else. I’m hooked on lenses, and I want them all.
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The thing about the 50mm is it is fast for low light — f/1.8.
BTW – I have a soft spot for this lens. My first good camera was a Canon TL-QL 35mm in about 1972. Your 50mm f/1.8 is essentially the same lens that was standard on that camera.
Don’t let yourself think, “Oh, an old lens design. It can’t be good.”
Optically, that little 50mm f/1.8 will likely outperform any budget zoom you are likely to put on your camera. And it would not surprise me if it outperforms a lot of Canon L-series lenses, also.
The lens itself is fine. Canon has rehoused it now in an inexpensive plastic mechanism. Although auto focus has been added, the mechanicals of the new lens are less than my old FL-series original.
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An external mic would have helped all three of the video segments you linked, but particularly the studio and awards pieces, each for entirely different reasons. The studio segment was hurt by using an on camera mic, which picked up far too much room ambience and natural reverberation. The awards segment suffered because the mic was too far from the subject, thus failed to isolate them from the background noise. The first segment, in McDonald’s, was just luck because the restaurant was not busy, and the close camera position worked a little better for the camera mic.
You are going to be challenged to pull focus on the DSLR with the type handheld footage you are shooting. It is definitely a more demanding camera to operate.
The 50mm you have would be considered a normal focal length on a full frame camera like the 5D Mk II, but on your 550/T2i it is more of a short telephoto, something that would be used for nice portrait type work, tight shots on a single person typically. For the tight shots on crowds like your awards segment piece, I definitely think you need something wider. The wide will help three ways: 1) easier to frame groups up close, 2) more depth of field because multiple subjects distance from camera vary, 3) wide angles are easier to hand hold.
I’m going to post a separate thread on a very inexpensive microphone in a minute. Watch for it — interesting for DSLR filmmakers working with camera audio and indy budgets.
There are no one size fits all tools for either lenses or audio. All these various devices are specialized and have application.
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One other thing. I’ve not been following every post, but what about audio? Lenses are important, but I would prioritize audio, especially for your stated purpose of doing interviews. Do you work with an audio guy? Can you recruit a boom operator?
Specifically: Are you planning to use the camera for audio? If so, something like the Rode Videomic Pro with an extension cable and the Rode Micro Boom Pole is more important than an extra lens. All three items can be had for $375 @ Amazon.com.
It is always best to have a dedicated audio person monitoring with headphones. A directional mic like the Videomic Pro needs an experienced boom operator if it is being used for more than one person.
If you are working in noisy surroundings, and do not have an experienced audio person, things become especially difficult. Assuming you have an interviewer present in the shot, that person may need to work a handheld mic in the shot. Shure makes special mics for this exact purpose, with an extra long mic body to give the interviewer a little extra reach:
Shure SM63L and SM63LB ($151 and $136 U.S., black being less expensive on Amazon.com.)
Shure VP64AL ($82.59 U.S. @ B&H Photo.)
Be sure to order the “L” version — this is the long body variant useful for interviews.
These are pro mics with XLR connectors, and will require an interface to adapt them to the 550/T2i audio input. Several people make these, like Juiced Link and Beachtek. I’m not a fan of DSLR audio, and prefer to work double system. Somebody else will have to guide you on this if this is the route you choose.
The key to good audio is getting a microphone close to the subject, period.
There is no such thing as a telephoto microphone. The more extreme types of microphones you see — called shotguns — are not exempt from the close mic’ing rule. All they do is reject off-axis sound better so whatever they are pointed at is better isolated from extraneous surrounding sound. The best you can hope for with a shotgun is to buy yourself a few extra inches so you can use a boom pole to lift the microphone out of the shot.
The downside of a highly directional microphone, even the Rode Videomic Pro, is that it will also attenuate other persons present. In other words, a highly directional microphone is a great strategy, but only if you have a good sound operator who can anticipate and keep it pointed exactly on whoever is speaking. To do this effectively requires a boom and isolating earphones.
If you cannot count on having an audio guy, the best fallback is to use either an in shot handheld mic or lavalier microphones. Even in situations with some level of background noise, getting a mic inches away from the person speaking will be a major improvement.
Lavaliers get into a whole range of issues. You need one for each person. Anything over 1 mic is going to require a mixer. 90% of lavaliers are used with wireless systems, etc.
For interviews, you are really going to need an audio person, because audio is equally important to the camera work.
Good luck!
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Where are you going to be shooting interviews? Under controlled studio conditions, or in the wild?
The reason I ask is because the 50mm is already a short telephoto on a crop sensor camera like the 550/T2i. Will you have an interviewer present? Is this a grab shot interview, with the interviewer holding a mic, or will you wire people up with lavaliers and perhaps wireless?
The reason I wonder is because your kit seems to be run and gun, which would imply shooting with less control over your surroundings. In that case, I think you are going to need a wider lens, not longer. Because in many situations, if you allow too much distance between camera and subject, the commotion of the surrounding event will have people walking into your shot. Already, with the 50mm, you are pushing yourself back considerably to frame anything other than a tight two shot of an interviewer and subject standing side by side.
I’m a fan of primes, but unless you have control of a set, a short zoom would be a wonderful thing.