On Location: Using Microphones
The type of microphone to use out-of-doors depends on whether the microphone is allowed to be in shot. It is usually perfectly acceptable in interviews for the microphone to be visible. In drama situations, most certainly not!
Microphone in shot
The two major problems are likely to be wind noise and handling noise. As a general rule omnidirectional microphones are less affected by handling noise than cardioids and they are usually less prone to the effects of wind on the diaphragm, although wind shields are almost certainly going to be needed unless winds are very light. For interviews a further advantage of an omni microphone is that there is no need for accurate pointing towards the speaker. Such a microphone held diaphragm upwards and roughly at chest height between interviewer and interviewee will normally be satisfactory.
Microphone out of shot
Here it is almost always necessary to use a highly directional microphone, i.e. some form of gun microphone with a windshield. There are some advantages in using the shorter type of gun with an approximately hypercardioid polar diagram, as, if mounted on a ‘fishpole’, it will be less heavy for the operator and will not need to be ‘aimed’ quite as accurately as a full-length gun. A suitable shock-proof mounting inside the windshield is essential.
For a solo presenter a miniature personal microphone can be used together with a radio-microphone kit. This arrangement can be quite inconspicuous and can give a good ‘close balance’ on the voice. Again, however, windshielding is necessary although the presenter’s body and clothing may give enough protection on their own. Care will be needed in the positioning of the microphone to minimise rustle from clothing.
Monitoring out of doors
Almost invariably this has to be done on headphones, and even the sealed type which exclude a lot of external noise often do not give a very accurate version of what is being recorded, particularly in noisy environments. It is all too easy to make a recording only to find later that the amount of noise picked up from nearby traffic is totally unacceptable. With experience it becomes possible to allow for this sort of thing by putting some bass cut into the system. Sometimes it may be necessary to use correction at the post-production dubbing stage and here, a good range of equalisation equipment can be very useful in reducing the unwanted effects of extraneous noises without unduly affecting the voice quality of the presenter or actors.
It is sometimes possible to mount a gun microphone on top of a camera (1) with satisfactory results, but there is a risk of the sound seeming ‘too distant’ in relation to the pictures. More usual is the fishpole-mounted gun microphone (2) fitted with a windshield.