Wired microphones are simple, cheap and reliable. But they come with a big disadvantage! The talent is tethered to the recorder (or camcorder) by a wire. People tend to freeze up and move stiffly when they are wired because they fear they might break something if they move.
- For documentary interviews, clip the microphone to the interviewee’s clothing about 6-9 inches from their lips. For narrative films, where you don’t want the microphone to show, use first-aid tape to tape the microphone to the skin, under the interviewee’s clothing. Put the microphone as close to the center line of the person’s body as possible. If the person is sitting sideways to the camera, and will be looking at the camera while speaking, tape the microphone on the side toward the camera. Finally, make sure the interviewee’s clothing does not rub on the microphone. While listening to the sound with headphones, ask the interviewee to shift position a couple times. Reposition the microphone if you hear clothing noise.
- Run the wire to the camera and plug it in. Use an audio patch cord if the wire is too short.
- Start recording. Listen to the sound with headphones as you record.
For interviews, if you can’t clip your lavaliere microphone to the interviewee, you can use it as an improvised hand-held microphone.
- Plug the microphone into the camera.
- Hold the tiny lavaliere microphone by your fingertips.
- Hold the microphone 6-9 inches away from the interviewee as he or she speaks.
- Start recording.
Wireless microphones are convenient, and allow the talent to move around, and generally be more spontaneous.
- Clip the microphone to the interviewee’s clothing, or tape it to the skin, about 6-9 inches from the interviewee’s mouth. Make sure clothing is not rubbing on the microphone.
- Place the transmitter on the talent’s belt (or inside their clothing) and plug the microphone into the transmitter. A matching receiver on the camcorder feeds the audio directly to the camcorder’s audio input.
- Start recording.
The convenience of wireless microphones comes with several disadvantages.
- Cost. You not only have to pay for a good microphone, you have to pay for a transmitter and receiver of equal quality.
- Complexity. You have more things to go wrong: Transmitter, receiver, cables, and connectors.
- Radio Frequency Interference (RFI) from other wireless sources and some electronic devices.
- Transmission path problems. Occasionally, the camera-mounted receiver won’t pick up a good signal from the transmitter. When this happens move the receiver until you get a good signal. If you can’t get a good signal, run a cable from the receiver to the camera.
Directional microphones are professional-grade microphones used in electronic news gathering (ENG) and filmmaking. You often see them mounted at the end of a ‘boom’ or ‘fish pole’, covered with a wind screen.
A directional microphone will pick up good dialog from two or three feet away. The pickup patterns and sound quality of directional microphones vary widely, so it’s a good idea to test several microphones before you buy one. Choose a microphone with a sound that appeals to you. (I chose the Sennheiser ME66. B and H Photo sells an ME66 kit with everything you need to get started.)
