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Sam, I don't consider myself a nay-sayer. And I do understand that there are times when a microphone needs to be attached to a camera body for one reason or another. I also understand that people have different standards when it comes to the audio product they deliver. For the product I deliver, perfectly good, is not good enough. Video being equal, which would you want accompanying your Red footage? Adequate Audio, Good Audio, or Great...

I've heard good things about the sennheiser 416 actually. I'll have to check out the Sanken and Shure. For actual productions, there's always a sound mixer and his team, but for what I'm doing personally, for fun, a little on camera mic is the only way to go. Thanks.

Hey guys. Did some searching, and was having trouble finding any solid answers to my problem. Hopefully you can help me out. I'll start with the background info first. I've been working very closely with a DP who owns his own RED package. I do all of his editing, and I've kinda fallen into being responsible for all location sound and video village responsibilities. Up until now, we've been doing mostly small commercial...

small feature request (already posted in another thread about built 21 but might have been lost in the noise...) : it applies mostly to RED ONE but maybe also to Epic/Scarlet if they use a similar fan/cooling system (silent while recording but noisy in between takes) except they will need much less time to turn off and back on... Can we have a way to get into a temporary 'silent mode' just to let the sound guys check the room noise...

Quote: Originally Posted by David W. Jones A $3k budget is not much for film work, as a good mic can run that much. My suggestion would be to contact someone like Trew that carries used pro gear. You might be able to stretch your budget a little farther going with top of the line used gear. Good Luck! Thanks for mentioning this company! I had never heard of Trew Audio before. Their website has a lot of great information.

Hi Dave, I'll give a go at some of your questions... Recording on the camera and a separate recorder is typical of most RED One shoots. The sound on the camera is quite good but most recordists want the control of having the recorder right at their fingertips. The mix feed is usually sent wired or wireless to the camera. If the feed to the camera is done properly the audio is fine for editing. I had a HD-P2 a while back, as I recall it...

depends what your doing but i've had outstanding results with a sennheiser 416 gaff taped to the top rod of the camera. same with a shure sm57. but i dont think its really the best idea for most applications. it works great for what i've been doing

if your looking for inexpensive, look at the Rode mics, good quality too

We mount a Senheiser 416, using a K-Tech mount, which works well for recording ambient sound.

Quote: Originally Posted by David W. Jones Sam, I don't consider myself a nay-sayer. And I do understand that there are times when a microphone needs to be attached to a camera body for one reason or another. I also understand that people have different standards when it comes to the audio product they deliver. For the product I deliver, perfectly good, is not good enough. Video being equal, which would you want accompanying your Red...