The Rode NTG5 short shotgun broadcast microphone came with a lot of interest and intrigue. The biggest question being “What’s with the holes?”. The NTG5 has an all-new design over Rode’s previous shotgun microphones, which Rode says helps to produce a more natural true-to-life sound. We put the NTG5 to the test to see how that claim holds up.
Shotgun microphones are the go-to for many filmmakers when recording audio. Whether it’s on-camera or boomed overhead of your subject, they offer a great ability to isolate the subject from the environmental noise around them.
But a lot of people don’t have great experiences with shotgun mics, because they’re not sure on exactly how to use them. Sure, it might be better than they’d get with the in-camera mics, but it can still be made even better. In this video, Kai Wong offers up five tips to help improve your shotgun mic recordings.
Announced last week, the Rode NTG5 is the newest shotgun microphone from Rode. It’s an ultra-light short shotgun broadcast microphone designed for use on location. It offers a very unique design from Rode’s previous microphones, with an optimised pickup pattern and frequency response to offer the most directional and faithful recording possible.
We stopped by the Rode stand at PhotoPlus 2019 to find out more about the new NTG5 microphone and the advantages it offers to filmmakers and other creatives who need good audio.
It’s been a while since we’ve seen a new high-end shotgun mic from Rode. It’s 11 years since they launched the flagship Rode NTG-3, one of the most reputable microphones out there at its price point. Today, though, Rode has announced the next generation of broadcast shotgun microphones with the new Rode NTG-5. Rode says the NTG-5 represents the culmination of 28 years of research and development of microphones for broadcast and movie use.
Originally an Aputure product line, Deity is now its own separate company focusing on quality microphones. They have quickly become favourites of those who’ve tried them. I have a Deity S-Mic 2 myself (review coming soon!) and it very quickly proved its worth. Now, Deity is looking towards on-camera sound with the launch of two new on-camera shotgun microphones; The V-Mic D3 and V-Mic D3 Pro.
Switching from the built in microphone to one that sits on top of the camera is the first step in getting quality sound. Whether it’s your primary audio source or simply offers a clearer track for syncing in post, external mics are the way to go. They help to eliminate handling noise and are often directional to help reduce random sound coming from your environment.
The Saramonic MixMic is one such system. Although designed primarily to be used as a on-camera microphone, it offers a lot of versatility. It’s comprised of two main parts. The MixMic XLR Adapter itself, and the Saramonic NV5 microphone. And you can add a second microphone if you wish. It offers features that you can grow into and expand upon as your abilities and needs increase.
Once you graduate from on-camera mics such as the Rode VideoMic Pro the next step is usually a real shotgun mic. Shotgun mics are popular due to their very directional nature. You can point them directly toward a subject to pick out their voice from the background noise. Or, they can be used in a more controlled, studio like environment to get very clean high quality recordings.
In this side-by-side comparison, Curtis Judd puts five shotgun microphones to the test. As well as comparing just how well each picks up sound, he performs an off-axis test. This helps to illustrate just how much environment noise away from your subject the microphones reject.
If you shoot video for long enough, and you’re interested in getting quality sound (you should be), then at some point you’re going to use a boomed shotgun mic. They’re not as easy to work with as you might first think, though. Bad technique can lead to the microphone picking up vibration and handling noise. It can also quickly get pretty tiring for the boom the boom operator, too.
In this video from Aputure, Ted Sim and Stephen Harrod provide six tips to work with boom poles on set. Some of the tips help to improve the audio quality. Others simply help you last for the duration of the shoot.
If you’ve been shooting video on your DSLRs for any length of time, you’ve realised that in-camera sound is awful. Perhaps you want to branch out to an externally boomed mic. Sounds simple, but there are some things you’ll want to keep in mind.
In this video from Aputure’s series 4 Minute Film School, we get some valuable tips from boom operator Stephen Harrod. Even if you’re not operating the mic yourself, it’s good information to know. Many start out having friends hold the mic, and you can help direct them with these tips.
Recording audio off the camera is as vital to filmmakers as getting the flash off the hotshoe is to photographers. Just as there are different options with off-camera flash, there are also a number of different microphone options when it comes to off-camera audio.
In this video from Adorama TV, David Day walks us through the two main types of microphones used to record sound. He explains the advantages and disadvantages of each and what types of shooting situations that each is often best suited to.