The mics formulated into DSLRs and camcorders are pretty basic and only meant for an emergency solution of audio recording. Because they're established within the camera frame, they pull up all the whirrs and snaps of autofocus systems and tape all the handling sound as you press keys, change settings, or touch the camera. Even the most reliable cameras benefit from conventional microphone input.
Whether you are filming a video blog for Youtube or maybe being even more courageous, if you are creating great quality visuals, there is something else you will want – high-quality audio. This signifies a great quality microphone or audio recording equipment. Most of these microphones will be what they name it-Shotgun mics. They are unidirectional, and to deliver the best results, it needs to be aimed at the sound origin. So, let’s have a glance at the best microphones for DSLR Video cameras.
Top Five Microphones for DSLR Cameras
Transducer type: Condenser
Form: Shotgun
Polar pattern: Supercardioid
Frequency response: 100Hz-16KHz
Power source: None
Rode offers a vast array of video-specific audio equipment, from enthusiast-level to high-end performance equipment. The VideoMic Go is at the cheaper end of the rainbow and mounts onto a hot shoe, with an active shock mount to decrease handling noise. It's fed by plug-in control from the camera's mic socket, so it doesn't require a battery, and there are no switches on board to attenuate the production or adjust polar patterns.
Frequency answer ranges from 100Hz-16KHz, but the recordings are rich and comprehensive, so you will not find it lacking in bass. There's a crispness to the sound as its answer curve smoothly rises to provide a boost at about 4KHz, but there is some buzz at the sharp end of the frequency scale.
Transducer type: Condenser
Form: Shotgun
Polar pattern: Supercardioid
Frequency response: 40Hz-20KHz
Power source: 1 x 9v battery
A little bigger and larger than the Rode VideoMic Go is Rode's VideoMic Pro. This hot shoe shotgun mic yields a similar area and design but combines extra features for those endeavoring more versatility and higher-class recordings. Although it's hung on a similar shock mount as the Go, it includes a room for a 9V battery (not supplied), which works as an energy source for around 70 hours. On the back, there are two switches to adjust production, and these change the output profit or give the choice between an even response or one with a low-frequency channel.
Transducer type: Condenser
Form: Shotgun
Polar pattern: Supercardioid
Frequency response: 50Hz-20KHz
Power source: 1 x AA battery
The VP83 LensHopper is a compact, hot shoe shotgun mic that works for 130 hours on a single AA battery, and gives a super-cardioid pickup design. It overcomes sound very efficiently from the sides, concentrating attention on where your camera is pointed. The case is installed on a shock-absorbing Rycote lyre system that separates the mic from managing noise, and additions of -10, 0 and +20dB are on offer to harmonize the production to your camera's input.
There's the option of a smooth or low-cut response to overcome any bass noise, and in experiments with the Canon 5D Mk III, the VP83 produced the lowest noise level of all, so hardly any noise at all was apparent in recordings.
Shotgun plus further options.
Degree settings for wider stereo fields.
Produces reasonable audio.
Canon is one of the business leaders in cameras and associated products but maybe is not so well recognized for audio generation. The DM-E1 is a microphone for your camera, but this gives a few more options. Usually, these cameras are Shotgun cameras and this has a dedicated framework to meet the ‘point it right at the target’ type of work.
Transducer type: Condenser
Form: Shotgun
Polar pattern: Supercardioid
Frequency response: 40Hz-20KHz
Power source: 1 x AAA battery
The MKE 400 is a very small shotgun mic that installs on a hot shoe via a mini shock-absorber, and though it measures in at just 60g, it has a strong, well-constructed quality. It lasts for up to 300 hours on a single AAA battery and allows two gain settings and both conventional response, and a low-cut setting to turn off bass noise.
A furnished foam windscreen shields the capsule but a windjammer for windy conditions is an optional extra. The MZW 400 kit comprises one and also has an XLR adapter for plugging the mic into an expert video and audio kit.
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