leica1215 Posted December 13, 2016 Share #1 Posted December 13, 2016 Advertisement (gone after registration) Which mic are you using for video recording? I found the inside the SL mic is not that sensitive... advise pls.... thanks Sent from my iPhone using Tapatalk Quote Link to post Share on other sites More sharing options...
Advertisement Posted December 13, 2016 Posted December 13, 2016 Hi leica1215, Take a look here Mic for video recording. I'm sure you'll find what you were looking for!
MediaFotografie Posted December 13, 2016 Share #2 Posted December 13, 2016 ...I use the new Sennheiser MWE 440 https://en-us.sennheiser.com/microphone-camera-camcorder-mke-440 Very good if you want two channel sound, otherwise there are many good alternatives. 1 Quote Link to post Share on other sites More sharing options...
ski542002 Posted March 21, 2017 Share #3 Posted March 21, 2017 Hi: For years, I've been using a relatively inexpensive Beachtek box. www.beachtek.com Records independently metered & adjustable 2-channel audio (using XLR jacks), right to the video file. I don't know much about audio technology, other than to say the audio sounds great! No need to sync external audio in post. Usually, I have a wireless lav on one channel for a primary subject, and a shotgun mic on the other to capture ambient sound. Very flexible system; tech support is stellar. Quote Link to post Share on other sites More sharing options...
dfarkas Posted March 21, 2017 Share #4 Posted March 21, 2017 I use the Sennheiser AVX wireless mic system for all of our video projects on the SL. Great sound, dynamic gain, excellent range, and small. Sennheiser AVX-ME2 Lavelier Set - Includes Bodypack transmitter, ME2 Mic and EKP plug-on receiver Quote Link to post Share on other sites More sharing options...
scott kirkpatrick Posted March 21, 2017 Share #5 Posted March 21, 2017 To go to a better, off-camera mike you need several pieces of gear. First of all, the SL takes audio input from a microphone through a special slot that requires an audio adapter cable AA-scl4. The cable presents two interfaces, one for a mike unbalanced input through a standard 3.5mm plug and one for a headset also with 3.5 mm plug. The headset can hear the playback from material that you have recorded on the SL but does not serve as a monitor while you are recording. This cable plus a battery-powered external small shotgun mike, for example mounted above the viewfinder, is the minimal system. But it may not be good enough, as the SL's preamps are not very powerful, and its mike sensitivity control has just five levels. So the next gadget in the chain is a mixer. I tried a Beachtek passive (no power) mixer that I had used with a video camera about 10+ years ago with some nice sounding but still inexpensive condenser studio mikes (they need AA batteries) with XLR shielded, balanced cables to the Beachtek, and a short unbalanced cable to the AA-SCL4. That worked, but the signal was still weak, and the result not as clean as I remembered it. Still, the mixer clamps to the bottom of the camera, so the result is not too conspicuous. (The current Beachtek is about cigarette pack in size, mine is about twice that.) The receiver for a wireless mike (hand-held or lavaliere) can also plug into such a mixer, as it usually has an XLR plug. At dfarkas' suggestion, I went to the next step, a powered preamp (SoundDevicesi MixPre-D) about the same size as my old Beachtek, also taking two XLR inputs or a 3.5mm unbalanced stereo, with level controls, VU meters, and more. It offers headset monitoring, also with level control, and delivers its output to the AA-SCL4. Now I have lovely clean sound and an easy, inconspicuous one-person setup. The next step is to try the better image quality and longer recording runs that external recording over HDMI (you need another cable) gives you. In this case the preamps come with the recording device, and the nicest recording devices have a monitor as well. The LeicaStoreMiami (free plug, but I have no connection) has a section of its website listing a set of these components that seem to be complete and well thought-out, and that is what he has been using. B&H has lots of variations, and some explanatory material to help you see how they might fit together. There is a competition now going on between top of the line mirrorless cameras to offer video capability. I have a tiny bit of experience with Olympus's, Fuji's and Leica's efforts, and the SL is doing a credible job, especially for a first serious entry. scott 1 Quote Link to post Share on other sites More sharing options...
RockettMan Posted March 22, 2017 Share #6 Posted March 22, 2017 My rig, so far... Quote Link to post Share on other sites More sharing options...
scott kirkpatrick Posted March 22, 2017 Share #7 Posted March 22, 2017 Advertisement (gone after registration) My rig, so far... Terrifying. How will it look when you have a soundman with boom mike alongside, and an art director or producer tagging along looking over your shoulder? No gyro stabilizer yet? scott Quote Link to post Share on other sites More sharing options...
ramarren Posted March 22, 2017 Share #8 Posted March 22, 2017 Terrifying. How will it look when you have a soundman with boom mike alongside, and an art director or producer tagging along looking over your shoulder? No gyro stabilizer yet? Terrifying? I guess you don't hang out around actual cinema operations much. It looks about normal, except that the camera is a bit less imposing in the equipment mess than it is with an Arri or other professional video camera. There are often three to four people operating the camera and sound, never mind director, producer, etc etc. As a home video rig, it's a little daunting but I suspect anyone getting to this level of rig is doing something more than just shooting young Bobby at the baseball park... Quote Link to post Share on other sites More sharing options...
scott kirkpatrick Posted March 22, 2017 Share #9 Posted March 22, 2017 My personal experience is limited to film school grade equipment, usually internally captured HD, with sound recorded externally and synchronized with a clapper -- three-man crews. There are a lot of videos on the web purporting to show how you can get wonderful video with your new mirrorless cam, but the camera is in the shot most of the time, so you wonder who took the actual video. My favorite is one with a young girl vlogger who goes everywhere with an iPhone facing her on a selfie stick, a video reviewer with his new E-M1 mark ii, and their friend, who shows up with a full one person rig in downtown London. Since the first two are visible in most of the Vimeo stream, I presume the guy with the full rig actually captured the action, although they may have kept the sound from the other two people. No focus-pullers for these folks. My immediate project is closer to Bobby at the ballpark. I've shot traditional Japanese martial arts, with full armor, and get still images that I find very intriguing. But the participants want something different -- who won the fight, and what was the cool move that did it? That takes video, and the cries that you make affect the score, so sound matters as well. I think I can do it with what I described, and one helper pointing a cardioid mike. connected with a 3m cable. I have three ways to get there -- Olympus m5.2 (IBIS!!), Fuji X-T2, and SL Quote Link to post Share on other sites More sharing options...
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