Suggestions on mounting a mic above a scene?

[iGamer4tv]

What can I do to achieve having a shotgun mic being held above a video scene without someone holding it?

I was thinking to get some sort of tripod Mic mount, but I'm not sure if I have to attach a boom pole to it as well?

In the future I will be upgrading to lav mics. The shots will just consist of 2 people sitting at a table talking looking towards a camera kind of like people on the news.

So, What do I need to buy in able to hold my Rode NTG-2 mic above the shot of the people talking while its on a tripod. I'm basically asking what tripod/boom pole stands do I need to buy in order to hanging above the shot around 10 feet pointing down wards at the subjects?

Anything helps,

Thanks!

[tupp]

There are several ways to do what you want.

 

One common way is to use a boom pole bracket that fits into a grip head (or other swivel clamp) on top of a C-stand or light stand.

 

Of course, you will still need a shock mount for your mic, and there are ways to mount two mics on the end of a boom pole.

[iGamer4tv]

17 hours ago, tupp said:

There are several ways to do what you want.

 

One common way is to use a boom pole bracket that fits into a grip head (or other swivel clamp) on top of a C-stand or light stand.

 

Of course, you will still need a shock mount for your mic, and there are ways to mount two mics on the end of a boom pole.

I did get a mic stand with a shock mount for my mic to see how things work out with that. But that boom pole bracket with a C-stand, can that attach to a mic stand? That does seem like what I should be getting, hopefully it does work with the mic stand I am already getting! (First time in this field for sound equipment).

 

Thanks

[pablogrollan]

On 11/4/2017 at 8:49 AM, iGamer4tv said:

In the future I will be upgrading to lav mics.

Not sure any sound guy would consider that an upgrade... lavs are "easy", as you just "mike the guy" and forget about it, but sound quality of a proper boom is better (super cardioids are usually more flattering for speech than an omni lav).

[Kisaha]

No sound man in his senses would prefer a lav to a properly positioned normal form factored mike.

If you think that "you just "mike the guy" and forget about it", you haven't miked a few people on a very important shooting or TV series/Film.

Why? Mostly physics.

1) size. There is so much you can do to a wee tiny capsule to achieve great sound. The good ones, are really expensive (DPA are my favorite)

2) Placement takes time, huge amounts of experience, and always, some luck.

3) Cloth/hair/movement noises

4) wireless have frequency issues from wi fi/mobile phones/whatever - cable is limiting and can be the worst solution of the 3 (boom/wireless lav/cabled lav)

5) change of sound depending of the talents movement

[pablogrollan]

18 minutes ago, Kisaha said:

If you think that "you just "mike the guy" and forget about it", you haven't miked a few people on a very important shooting or TV series/Film.

I think you probably misunderstood... I said a lav is NOT an upgrade because it doesn't sound as nice a boom.

I'm not a sound guy myself but my sound guy takes 5 minutes to set up a lav, and if done properly -which takes experience- you mike the guy and forget about it (there are many ways to hide the mic and protect it from cloth noises). In narrative and film the lav is usually the backup, only to be used if there is no other choice. On live TV shows and news on the other hand, lavs are everywhere and since they can be visible, they are quite easy to place: you just need to make sure no wires are too tight, that the setup is not going to move and if possible -on live TV- use 2 lavs per guest, just in case one of them fails.

[Kisaha]

Yeah, I didn't misunderstand you, I got your point, I agreed and just enhanced that view.

I have put lavs a few thousand times myself. You never forget the lav, you constantly monitor and it is very stressful, especially if you have more than 10, as I was doing political talk shows and I had 10-15 people miked at all time (the good thing is I didn't have to hide them, that is always a plus).

As good as you have place it, there is always a chance to something go wrong, and you need only 1 second of bad sound to ruin the take/interview/scene etc. 1 mistake is too much, while an experienced booman can always perform 100% right. This is my 19 years sound experience.

Most people believe that a lav is the only think they need for sound. That is not the fact.

[iGamer4tv]

2 hours ago, pablogrollan said:

Not sure any sound guy would consider that an upgrade... lavs are "easy", as you just "mike the guy" and forget about it, but sound quality of a proper boom is better (super cardioids are usually more flattering for speech than an omni lav).

Okay I did not want to upgrade for sound quality, I just didn't like the sound of "being in an open room" and that there will never be a mic person, so if the subject moves around I don't want to lose the sound since they wont be directly under where the mic is positioned. But, now that you guys mentioned it if I'm going to spend money upgrading the mics I may as well just get better shotgun mics to setup on the boom, and I think maybe 2 mics would work? I know for a fact we will be moving around from left to right and not stay stationary in the middle of the shot where the mic will be directed. That's the only reason I wanted lavs, cause I thought it would help in situations where the subject isnt in the position of where the mic was pointed!

I'm very new to this so thanks for all feedback! Some of the equipment comes in the mail tomorrow I'll see what I need to change anything. 

[tupp]

7 hours ago, iGamer4tv said:

I did get a mic stand with a shock mount for my mic to see how things work out with that. But that boom pole bracket with a C-stand, can that attach to a mic stand? That does seem like what I should be getting, hopefully it does work with the mic stand I am already getting! (First time in this field for sound equipment).

If you are only going to arm-out the mic no more than 2.5 feet, then a regular mic stand might work on someone who is seated.  However, most situations call for arming out the mic a longer distance than 2.5 feet.

 

You probably need a sturdy stand with a baby pin on top, plus a boom pole, plus something like the bracket I linked, plus some sort of swivel clamp or a grip head.  There are other ways to do this (and I frequently use one of the other ways), but if you already have a pro boom pole, this might be the best way to go.

[iGamer4tv]

Looks like im going to need to get a couple things. The stand I got wont wont alone. I need a 8 foot stand, then a 6 foot pole that holds the mic connected from the stand at a right angle hanging on down from above. I think I'm going to return the stand for a way better one, hopefully longer. And use the boom pool with bracket to connect it to the mic stand? 

If im understanding it all correctly.

[IronFilm]

On 4/12/2017 at 9:31 PM, Kisaha said:

No sound man in his senses would prefer a lav to a properly positioned normal form factored mike.

If you think that "you just "mike the guy" and forget about it", you haven't miked a few people on a very important shooting or TV series/Film.

Why? Mostly physics.

1) size. There is so much you can do to a wee tiny capsule to achieve great sound. The good ones, are really expensive (DPA are my favorite)

2) Placement takes time, huge amounts of experience, and always, some luck.

3) Cloth/hair/movement noises

4) wireless have frequency issues from wi fi/mobile phones/whatever - cable is limiting and can be the worst solution of the 3 (boom/wireless lav/cabled lav)

5) change of sound depending of the talents movement

6) a $250 mic (a not uncommon price for a lav mic) is going to sound worse than a microphone that cost six times more. 

On 4/12/2017 at 10:00 PM, pablogrollan said:

I'm not a sound guy myself but my sound guy takes 5 minutes to set up a lav, and if done properly -which takes experience- you mike the guy and forget about it (there are many ways to hide the mic and protect it from cloth noises).

No, you do not just "forget" about it, you stay monitoring it and ready to troubleshoot any issues at a moment's notice. 

And that experience which you mentioned.... that takes YEARS to build up!

[Kisaha]

Now that the market is dominated by uneducated and unexperienced directors producers, all they need is a G3 and a ME2 capsule!

The other day I did a shooting for 1/3 of my going rate (which is small anyway, to help a friend DP, and just for the connection) and brought to me my usual setup, and the directress ask me why we do not just put "the bug", as they call the lav mics here in Greece! See doesn't even know what wireless system, or any type, model, or anything about lavs, "the bug" can do it all for them! We were near the center of Athens, and normally the G3s sound was more interference than sound, and it was too street-noisy anyway. Good old 416 did the trick.

My friend told me that they did the rest of the shootings (a decently low-budgeted documentary, easily could fit my usual - low - rate) with a G3/ME2 and a Rode NGT2 on the camera!