Blackmagic Forum

I was testing the internal mic today and noticed that it picks up the noise from the stabilization mechanism!

https://www.dropbox.com/s/arjedudwnb55r ... zation.m4a

I'm looking to get a Rode NTG-2 and attach it to the rig but now I fear that alongside the higher quality audio it will pick up the stabilization noise even more accurately! Does anyone use a NTG-2 attached to the rig with an IS lens? Would the HighPass filter cancel this noise or would this be able to be filtered in post?

Help

Great question, I just picked up the NTG-2 for my on rig mic and I have the Canon 70-200 IS, and sigma 17-50 with OS/IS But my camera is in the shop getting Flanged!

The Canon 70-200 "IS" seems much noisier than the Sigma 17-50 but I have not tested either with the Rode NTG-2 yet since my camera is being fixed.


I think the HighPass filter will help a little but rigging your mic as far from the lens and camera (Fan Noise) will also help, but shoulder rig mics should not be your main source of Audio anyway if you have a choice, I mostly do it for better "In Camera" audio to sync with, if you can use a boom operator or Boom Stand.

Darryl Gregory wrote:Great question, I just picked up the NTG-2 for my on rig mic and I have the Canon 70-200 IS, and sigma 17-50 with OS/IS But my camera is in the shop getting Flanged!
I use my Sennheiser MKH-416 Boomed.

I think the HighPass filter will help a little but rigging your mic as from from the lens and camera (Fan Noise) will also help, but shoulder rig mics should not be your main source of Audio anyway if you have a choice, I mostly do it for better audio to sync with, if you can use a boom operator or Boom Stand.

I agree boomed would be ideal however I shoot "run&gun" style compact and am a one man show so booming makes it complicated. I will try to mount it farther away from lens and go with that.

Also the more forward you mount the Mic from the lens the better it will reject the IS noise.

and hypercardioid indoors, shotguns outdoors.

I'm getting the AKG Blue Line Series Hypercardioid Microphone Kit
for indoor dialog.

IS noise has always been picked up by DSLRs as well, it's normal. That's why you should only use the built-in microphone for synchronisation purposes.

Christian Schmeer wrote:IS noise has always been picked up by DSLRs as well, it's normal. That's why you should only use the built-in microphone for synchronisation purposes.

It's not normal and needs to be addressed for any shooting conditions, It is not the norm as most
Cinematographers are using NON IS Cinema lenses...Anyway

I guess you have never edited anything but your own DSLR footage Christian.

In the case of the BMCC or any production I would rather use a shotgun mic on my Rig, Reason is if your Primary/Master Audio (Boom Operator-Wireless lavs) has any issues (lav rustling) you can use the cameras Audio for a quick cut and replace as long you used a Decent Shotgun Mic and captured decent sound, The Built in cameras MIC would never work in this scenario, and depending on the distance you are from the dialog/audio your trying to capture on board "RIG" shotgun mic may not work either but...
Having any decent second or third audio source recording is a must IMO,
Because doing a re-shoot that was perfect the first take... but the audio was borked and unusable can cost more than it's worth to fix in the long run, Better to just get it on the first take and save the headaches.

Trust me if you think about quality sound (redundant sound capture) now...You will have quality results and sound choices in the end result.

Right after NAB, I predicted that the BMC will drive all the run&gun onemanshow guys, that jump on it totally nuts, since they think it's just a DSLR with better codec.

I told everybody that this is a cinema camera and you have to treat it like a cinema camera, or you will be disappointed. Didn't get much love for that.

Frank Glencairn wrote:Right after NAB, I predicted that the BMC will drive all the run&gun onemanshow guys, that jump on it totally nuts, since they think it's just a DSLR with better codec.

I told everybody that this is a cinema camera and you have to treat it like a cinema camera, or you will be disappointed. Didn't get much love for that.

I love you Frank, But Frankly I don't know you well enough to hate you yet!
just kidding Frank, I'm an ass no matter what side my ass is facing you.

I have my faults, and I'm sure of what I speak (When I'm "NOT" Drunk) But WTF is everyone else's problem? That's what I want to know?

Haha

Frank Glencairn wrote:Right after NAB, I predicted that the BMC will drive all the run&gun onemanshow guys, that jump on it totally nuts, since they think it's just a DSLR with better codec.

I told everybody that this is a cinema camera and you have to treat it like a cinema camera, or you will be disappointed. Didn't get much love for that.

I hear you, Frank. Funny thing: Some of the time, I'm a "run&gun onemanshow guy", and I jumped on the BMCC because it's not a DSLR (better codec or otherwise).

However, I can read specs, and I also read your posts (and John Brawley's, and others) and I'm hoping I've figured-out how to make a camera like the BMCC work for me, my budget, and my clients' budgets. Here's how I plan to go about it:
http://herefortheweather.wordpress.com/ ... -thinking/

Others may come up with different solutions for working with the BMCC, or choose a different camera entirely. As long as folks proceed with their eyes & ears open (and brains engaged), it's all good.

Cheers.

Frank Glencairn wrote:I told everybody that this is a cinema camera and you have to treat it like a cinema camera, or you will be disappointed. Didn't get much love for that.

I was thinking exactly this while reading posts from people who wanted to record 5 hours straight. This is a "cinema" camera.

I can put a nail in the wall banging on it with a pair of pliers (done this) but a hammer was designed for that job and does it much better.

People will always gravitate to equipment they perceive to be the best. BMCC got a LOT of positive press about it's cinematic image and price point, but some people are still going to try to put that square peg in the round hole.

C'est la vie

Darryl Gregory wrote:

Christian Schmeer wrote:IS noise has always been picked up by DSLRs as well, it's normal. That's why you should only use the built-in microphone for synchronisation purposes.

It's not normal and needs to be addressed for any shooting conditions, It is not the norm as most
Cinematographers are using NON IS Cinema lenses...Anyway

I guess you have never edited anything but your own DSLR footage Christian.

In the case of the BMCC or any production I would rather use a shotgun mic on my Rig, Reason is if your Primary/Master Audio (Boom Operator-Wireless lavs) has any issues (lav rustling) you can use the cameras Audio for a quick cut and replace as long you used a Decent Shotgun Mic and captured decent sound, The Built in cameras MIC would never work in this scenario, and depending on the distance you are from the dialog/audio your trying to capture on board "RIG" shotgun mic may not work either but...
Having any decent second or third audio source recording is a must IMO,
Because doing a re-shoot that was perfect the first take... but the audio was borked and unusable can cost more than it's worth to fix in the long run, Better to just get it on the first take and save the headaches.

Trust me if you think about quality sound (redundant sound capture) now...You will have quality results and sound choices in the end result.

Erm... I wrote that in reference to using the internal microphone. I didn't mean that having this noise in your recordings is normal, just that if people don't care enough to use external equipment and only use the built-in microphone on a BMCC or DSLR, they'll have to expect that the IS noise and fan noise will be in the recording. The built-in microphone certainly should be avoided for anything but reference or synchronisation purposes.

Christian Schmeer wrote:That's why you should only use the built-in microphone for synchronisation purposes.