Buying Guide: Shotgun Microphones

The latest and greatest video cameras boast the highest image quality and visual capabilities. While life-like footage is great, it is only half of the battle. Great films use both sight and sound to transport the audience into the story. Many young filmmakers don’t understand the importance of properly capturing audio until it is too late. Just like there is no magic button to make home movies look cinematic, there is no way to make the onboard microphone of your DSLR sound hi-fi.

One of the first steps to improve the audio quality of your video productions is to use the right microphone for the job. Every type of sound could be paired with a different microphone that would capture it best. Since we don’t have unlimited budgets, we will focus on the most important sound in film: the human voice. Capturing clear and understandable dialogue is crucial to all productions. The shotgun microphone was developed to be able to focus on voices while rejecting background noise. Regardless of your budget, there is a shotgun microphone that can work for you and your video projects.

A shotgun mic is a cylindrical, long microphone that isolates sounds in front of it while cancelling sources of external sounds from the sides and the rear. The design gives it a narrow range of focus, making it especially adept at picking up human vocal frequencies.

Lavalier microphones (lav mics) are often used for recording dialogue as well. These are the small mics you see clipped onto clothing near the individual’s mouth. They are better for controlled environments with minimal ambient noise. They have the advantage of always being the same distance from the sound source. To hide them from the shot, they are placed underneath clothing, which can create unwanted ruffling sounds. Lav mics and other specialized microphones like stereo and handhelds are great when used in the right situation but are not as versatile as shotgun microphones.

For those on a budget but not willing to sacrifice audio quality, the H&A Directional Condenser Microphone () is one of our top-rated and most affordable pieces of audio gear. The H&A Directional Condenser Mic captures broadcast quality audio by concentrating on the live sound from in front of the camera, virtually eliminating ambient sound and gathering a clearer signal for making digital video with a DSLR camera, camcorder, or audio recorder. The specially designed microphone. directly connects to digital SLR cameras and camcorders with a 3.5 mm stereo mini-pin jack, and mounts firmly onto camera hot shoes. Adorama carries various models and accessories for the H&A microphones that you can browse here.

The Rode VideoMic Go () is a compact shotgun condenser microphone that mounts directly to your DSLR camera. This basic yet effective mic has no controls, knobs, or buttons. The microphone is powered by your camera’s mic input (supported by most cameras). The Go comes with an integrated Rycote shockmount and a foam windscreen. Shockmounts help reduce unwanted vibration and handling noise. Windscreens protect against distracting wind-blowing sounds that can occur when shooting outdoors.

The H&A Professional Supercardioid Shotgun Microphone () is meant for digital scribing, studio or location recording and multi-media integration. The H&A mic features an extended tube length of 15 inches with an extremely narrow, highly directional supercardioid polar pickup pattern that clearly separates sound directly in front, while subduing unwanted off-axis sound. Designed for the clear capture of dialog, this mic is a popular choice among broadcast and film recording professionals, in ENG (News Gathering), theater and sound design applications. Direct-coupled, balanced output ensures a clean signal even in high-output conditions. The rugged mic can be phantom powered or operated on a single AA battery. The suspension shock mount has a built-in shoe for camera mounting with and a 1/4″x20 thread for attaching to stands, booms, brackets and grips.

A step up from the Rode VideoMic Go is the Rode VideoMic Pro ($199). This mic is battery powered to provide greater sonic performance and extended sensitivity. The VideoMic Pro allows you to boost output levels by +20dB. Additionally, you can activate a high-pass filter to cut out low bass-frequency sounds below 80Hz.

The Shure VP83F LensHopper () is an all-in-one shotgun mic and portable digital recorder. The built-in digital recorder allows you to make recordings at higher resolutions and bitrates than your camera is capable of doing. The LensHopper also includes a mini-plug output that can be detached so you can use it directly with your camera. With an included Rycote Lyre shockmount it is easy to mount directly to your DSLR camera. Files are saved to MicroSDHC, and it is compatible with cards up to 32GB. It runs on two AA batteries for up to 10 hours.

All of the mics we’ve featured so far have a 1/8” (3.5mm) output that is compatible with the mic inputs found on DSLR, mirrorless, and smaller video cameras. These microphones are good for close shots but when the camera moves further away from the sound source, the audio quality suffers. Using a boompole is a common solution to get the shotgun mic as close to the source as possible while still being out of the shot. Most boom poles and high-end shotgun microphones feature 3-pin XLR outputs as opposed to 1/8”. XLR cables produce less noise, can be run long distances, and have a locking mechanism. Higher end microphones can be mounted directly to cameras with the proper adapters and accessories. However, it is recommended to use a portable digital recorder as opposed to the mic input of the camera. Also, some of these microphones will require phantom power (+48v) to operate. Most cameras cannot provide phantom power and in these instances, a portable digital recorder with phantom power will be required.

The latest release from Rode is the NTG4+ (), which features an all-new condenser capsule with low noise and high sensitivity. The NTG4+ allows you to escape the constraints of phantom power with an internal rechargeable lithium battery that supplies over 150 hours of operation. The battery can be fully charged via MicroUSB in about two hours. The NTG4+ has three digitally-switched buttons with LED indicators. The switches allow quick access to a high-frequency boost, a high-pass filter, and a 10dB pad. Additionally, the buttons allow you to switch quickly between phantom power and the internal battery.

At a similar price to the NTG4+ is the Sennheiser MKE 600 (). The MKE 600 is a fantastic quality, 10” short-range shotgun. Although considered an entry model, it has just about professional performance. It performs great in both close and open areas without relying on post EQ. The MKE can be powered on one AA battery for about 150 hours or via phantom power. The MKE also features a low-cut switch and a low battery indicator.

The Rode NTG-3 () is a professional level shotgun mic with smooth response, generous pick-up pattern, and outstanding interference rejection. While the product number may lead you to believe otherwise, this microphone is on a higher level than the NTG4. This mic uses a technology known as RF-bias, which allows for a high level of immunity to radio frequency broadcast. The NTG-3 can even reject interference from mobile phones. This mic has 50% less self-noise than the majority of shotgun microphones and is almost completely resistant to moisture. With superior sound quality and rugged construction, it is clear why the NTG-3 is Rode’s premier A/V microphone.

Last on our list is one of the most desirable shotgun mics on the market: The Sennheiser MKH 416 (). The 416 has been the “go to” mic on many professional productions for years. This microphone delivers the industry standard for voice capturing sound in television, movies, trailers, and voice-overs. Like the NTG-3, it features RF biasing, which allows it to be less sensitive to moisture, have a wider frequency response, and have low self-noise. The 416 is less sensitive to the “proximity effect”, which means bass frequencies do not fluctuate as much with changes in distance. With excellent directivity and compact design, the 416 delivers sound that is rich, detailed, deep, and punchy. If you can swing the price, the 416 is an investment that will certainly pay you back through the audio quality it adds to your productions.

It is important to remember that the microphone alone will not guarantee great audio. You, as a sound engineer, need to learn the skills and tricks that only come from experience. Having multiple microphones is always helpful in the event that one mic source is not usable. Additionally, multiple microphones allow for more realistic mixes. Don’t forget to invest in high-end windscreens if you are going to be shooting outdoors. The windscreens that come with mics won’t always be enough in windy situations. Lastly, do not rely on “fixing it in post”. You should always try to capture the best audio on set. The less modification that has to be done in post, the more realistic and powerful your audio will be.