Pozdrav svima posle duge pauze!
Nije realno očekivati da ti jedan mikrofon pokrije sve potrebe pri snimanju filma. Može ako ti zahtevi nisu veliki i ne očekuješ profesionalni kvalitet.
To koji i kakav će se mikrofon upotrebiti zavisi od konkretnog kadra. Najbolje je da imaš čoveka koji sa "pecaljkom" radi iznad ili ispod glava glumaca. On i okreće mikrofon u potrebnom smeru.
Mogu se i apsolutno svi zvuci naknadno snimati a snimak tona sa lica mesta, od ugrađenog mikrofona u kameru, koristiti samo kao orijentaciju. Recimo, naknadno se dodaju svi šumovi (okolina, ambijent), glumci naknadno snime glas poput nasnimljenog glasa u crtanim filmovima ("nahovanje", nahsinhronizacija, nadsinhronizacija i naknadna sinhronizacija su termini koji se koriste a znače isto). Da, to se koristi, posebno je lako uraditi sa scenama u kojima je glumac okrenut leđima pa se ne vidi njegovo lice. U većini slučajeva se lice vidi, pa je onda težak zadatak sve uklopiti ali može. Najveći deo posla je na glumcima koji naknadno snimaju glas. Ako su oni loši, ništa ne pomaže. jedan glumac na slici može imati glas nekog drugog a da to niko ne primeti. Mora se poštovati i ambijent sa slike, da li glas treba da ima odjeka ili ne i koliko.
Neko prelazno amatersko rešenje bi ti bilo da uzmeš neki kondenzatorski mikrofon ("elektret" varijante poput AKG C1000 rade i na bateriju i ne zahtevaju snimač sa fantomskim napajanjem), staviš ga na pecaljku (boompol) i dovoljno dugačkim, ne i predugačkim kablom povežeš sa DSLR-om. Mora da se pazi da tonac koji rukuje pecaljkom ne povuče DSLR. One kondenzatorske mikrofone koji zahtevaju eksterno fantomsko napajanje ne možeš priključiti direktno u DSLR koji nema 48 V fantomsko napajanje na mikrofonskom ulazu (mislim da takav DSLR koji ima fantoma ni ne postoji). U tom slučaju morao bi da snimaš sa nekim eksternim snimačem tona koji ima tu osobinu (najjeftiniji je Zoom i slično). Dinamičke mikrofone (ne zahtevaju napajanje) ti ne bih preporučio jer su manje osetljivi a nalaze se daleko od usta.
Što se tiče shotgun mikrofona, recimo da bi RODE NTG3 radila odličan posao ali nije jeftin, napolju oko 700 dolara. Ima i NTG1 i 2 ali je 3 bolji. Tu su i skuplji Sennheiser itd. Iako je mikrofon shotgun, on opet treba da je što bliži onome ko govori. Zato se pecaljka i drži što bliže ivici kadra i što bliže ustima.
Može se fantomsko napajanje rešiti putem male kutijice na baterije koja je eksterno fantomsko napajanje. U nju mikrofon a iz nje u DSLR. Uzmeš jeftiniji kondenzatorski (što jeftiniji to je niži kvalitet, naravno), eksternog fantoma i eto.
Bilo bi dobro imati i neki "lavalier mic" ili "pin mic" za one situacije kada je manje zgodna upotreba pecaljke. Idealno je da su bežični što opet otvara pitanje cene itd.
Pogledaj šta sve ima RODE:
http://www.rodemic.com/micsEvo ti jedna od loših kritika RODE PRO:
Yes, this is a great microphone once you figure it out, especially the trick in getting the battery cover off and snapping it back on. What's worse, is the battery cover isn't attached by a small strap to the body of the electronics compartment of the mic. It's only a matter of (short) time that I'm struggling with removing or replacing the battery cover that it will fall and I'll lose it. Once you lose the battery compartment cover, that's it. The battery won't stay in its place, no contact, no power, no mic. Dead duck. This is a deal-killer for me.No matter how good the mic is, if you're on a shoot and somehow you lose the battery cover, you have no mic, and for most of us, that means no sound, or really bad sound. If you're shooting mission critical assignments, like a wedding, and you rely on this mic, you're in a world of hurt if you drop the battery cover and can't find it, such as under a table in the reception, or similar situation.If that weren't enough, the little rubber bands holding the mic body to the mounting bracket are very loose, and come off almost regularly as you try to fiddle with the body to change the battery. It's really poor design, and Rode should have figured out this is not a sustainable design for reliable field use. I ended up glueing the rubber bands to the body so they didn't keep coming off. You put one side on, and other side comes off. Geez, what a pain.If you plan to use the mic where a mixer is involved, as do I, you'll need an extension cable or two, because the short cord from the mic is long enough to reach the camera only if it's mounted on the hot shoe directly above the camera. If you plan to use an "L" bracket, you'll need an extension cable to reach the camera input jack. The cord is NOT coiled, which would have been nice. It just hangs there.The switches on the back of the body give good control over mic functions, but they're really small, and tight to operate, so you'll jiggle the mic quite a bit when you engage the switches. Sometimes, you'll go all the way to the right when you're trying to get to the center position, so more fiddling is involved.These might seem petty, but when you're under pressure to get the right shot, the last thing you need is to wonder if the rubber bands are loose on the suspension, or having to change the battery in mid-shoot, then losing the battery cover on the floor, and looking around for it. Heaven help us if we lose the battery cover in a dark room or outside on grass, or other equally distasterous situation.[...] So far, there is no fix for this in the pipeline that I know of, and there's no provision for purchasing extra battery covers. I'll update this review if I find out anything to the contrary. In the mean time, just keep in mind that if you lose the battery cover, you're a dead duck. If you want to take that chance, I'll sell you mine at a discount!Hope this helps.