In the video above I show you how we oriented the Rode NTG2 Condenser Shotgun Microphone while booming to best pick up our intended signal. This RODE condenser shotgun microphone has a supercardioid polar pattern. I show you how the off-axis signal rejection and front sensitivity are best used to capture audio and explain why achieving an optimal signal to noise ratio is so important for recording quality audio.
The Rode NTG-1 Condenser Shotgun Microphone is a bit cheaper but requires 48V Phantom Power to operate, while the Rode NTG-2 Condenser Shotgun Microphone is more flexible on the field and can use both Phantom power, or self powered through a single AA battery. Since the NTG-2 can be self powered, you can connect it directly to your DSLR video camera and start recording. For best results with most microphones connected to the camera, you should try to use better preamps that can boost the signal without adding additional noise.
In the video, I also conducted an audio test that demonstrates the quality of audio with and without a preamp. I’m using the JuicedLink RA-333 Preamp (found here). The JuicedLink preamplifiers allow you to manually throttle back those noisy amps in the camera (which causes that loud hiss or floor noise) and boosts the signal with clean gain to achieve optimal signal to noise performance.
In an earlier OTech blog post about Preamplifiers, Robert from JuicedLink explains preamps, why you need them and how they perform for you and your workflow.
At 3:29 with the RA333 I am hearing a buzz maybe around 240Hz, where was that coming from? Almost sounds like a grounding issue. Was every thing ground well?
I am currently comparing reviews of 4 devices which are similar to the RA333. The most expensive is the well known Sound Devices 302 Portable 3 Channel Field Mixer@ around $1300, there is the lesser known Fostex DC-R302 3-Channel Audio Mixer and Stereo Recorder @ around $1000 and finally the Beachtek DXA-SLR PRO HDSLR Audio Adapter@ around $450 (2 channel only). Unfortunately there are not a lot of detailed reviews online I can find on the new Fostex and JuicedLink RA333 (yet). Olivia’s is one of the first ones on the RA333. The older model JuicedLink and Fostex did get a lot of great reviews.
The Beachtek meters are problematic and is just 2 channel. I am looking for an excellent preamp, but the features of the SD 302, Fostex DC-R302, and Juicedlink RA333 are all different and there is no way I can make a decision yet, because my intent is to use one for mostly run and gun field interviews on a not yet released Black Magic Camera. I just thought I would share the above info for those who are comparing to the JuicedLink RA333 Riggy Assist Low-Noise Preamp@ around $470. BTW I’ve used the Zoom H4n and I don’t like it mainly because of its lack of a preamps on the XLRS, but you can get XLR pre-amps which should help, but add another $100 each to its price.
While I’m hardly an expert, I have produced a lot of newspaper website and TV videos using just the built-in amps in the 60D and 5D Mark II and a Rode VideoMic Pro and I have to say that my sound has never been as bad as what you’ve managed to get using the 5D Mark III. I fully admit that the sound would be better through a Juiced Link and I’d love to have one but there is no way that the difference is that dramatic. I’d have lost my job by now if my sound was that bad. Something is definitely amiss here.
Mike, we have the VideoMic Pro also. Great microphone. The Rode NTG-2 is a different type of microphone and requires more gain in camera than the Videomic Pro. It will not be as much, but you would still get a large amount of floor noise if you connected the NTG-2 to a Zoom H4n. This test is specific to using the NTG-2.
I wondered if that might be the case. I know the mics are different but I didn’t think the difference would be that dramatic. Guess I know what mic to stay with. Thanks for clearing that up for me.
Also, the Rode NTG2 is a power house of a microphone. Having something like a JuicedLink between that shotgun mic and the camera will allow you to harness the full capabilities of this type of microphone. On the other hand, a mic like the VideoMic Pro is tailored to perform well when plugged directly into the camera. This has to do with the individual spec on the mic.
You said,”It will not be as much, but you would still get a large amount of floor noise if you connected the NTG-2 to a Zoom H4n.” So would you run the mic into the preamp and then it into the H4N, to reduce floor noise?
We have run the NTG2 into the H4N for reg dual sound recording, but sometimes we do that and then run the H4N into the camera mic port, when there is a major time crunch, (with an attenuating cable). And it’s not too bad.
I want to know where the JuicedLink would fit in.
Also, what mic holder is on the end of the boom pole? Looking for a better shock mount.
Sounds like you are using the Zoom H4n as the Preamp into the camera. If you are not concerned with recording dual audio, you could eliminate the H4n with the JuicedLink. If you want to get better sound into the H4n from the NTG-2, you could use the JuicedLink in between. Dial down the levels in the Zoom H4n and turn it up in the Juicedlink.
Thanks for the great info. I am wondering how this setup would differ from the same mic with the Tascam DR40, then using the output of the DR40 to the camera’s mic input. I am sure the JuicedLink is a better solution, but I already have the DR40. I am getting sick of audio syncing, so this could save me a great deal of time in post.
@Scottrellwi The setup from the recorder into the camera could work, but this particular microphone requires plenty of gain. The DR40 could provide phantom power to this microphone, but i’m not sure if it will be comparable to the clean gain from a Juicedlink.
Rode NTG2 Condenser Shotgun Microphone
At 3:29 with the RA333 I am hearing a buzz maybe around 240Hz, where was that coming from? Almost sounds like a grounding issue. Was every thing ground well?
@Dave yes, that seems to be a grounding issue. We’re working now to solve this issue and pinpoint how to correct it.
Thanks for letting me know. I am interested in testing that unit out someday when I am not so busy, seems like a nice product in a small package.
I am currently comparing reviews of 4 devices which are similar to the RA333. The most expensive is the well known Sound Devices 302 Portable 3 Channel Field Mixer@ around $1300, there is the lesser known Fostex DC-R302 3-Channel Audio Mixer and Stereo Recorder @ around $1000 and finally the Beachtek DXA-SLR PRO HDSLR Audio Adapter@ around $450 (2 channel only). Unfortunately there are not a lot of detailed reviews online I can find on the new Fostex and JuicedLink RA333 (yet). Olivia’s is one of the first ones on the RA333. The older model JuicedLink and Fostex did get a lot of great reviews.
The Beachtek meters are problematic and is just 2 channel. I am looking for an excellent preamp, but the features of the SD 302, Fostex DC-R302, and Juicedlink RA333 are all different and there is no way I can make a decision yet, because my intent is to use one for mostly run and gun field interviews on a not yet released Black Magic Camera. I just thought I would share the above info for those who are comparing to the JuicedLink RA333 Riggy Assist Low-Noise Preamp@ around $470. BTW I’ve used the Zoom H4n and I don’t like it mainly because of its lack of a preamps on the XLRS, but you can get XLR pre-amps which should help, but add another $100 each to its price.
While I’m hardly an expert, I have produced a lot of newspaper website and TV videos using just the built-in amps in the 60D and 5D Mark II and a Rode VideoMic Pro and I have to say that my sound has never been as bad as what you’ve managed to get using the 5D Mark III. I fully admit that the sound would be better through a Juiced Link and I’d love to have one but there is no way that the difference is that dramatic. I’d have lost my job by now if my sound was that bad. Something is definitely amiss here.
Mike, we have the VideoMic Pro also. Great microphone. The Rode NTG-2 is a different type of microphone and requires more gain in camera than the Videomic Pro. It will not be as much, but you would still get a large amount of floor noise if you connected the NTG-2 to a Zoom H4n. This test is specific to using the NTG-2.
I wondered if that might be the case. I know the mics are different but I didn’t think the difference would be that dramatic. Guess I know what mic to stay with. Thanks for clearing that up for me.
Also, the Rode NTG2 is a power house of a microphone. Having something like a JuicedLink between that shotgun mic and the camera will allow you to harness the full capabilities of this type of microphone. On the other hand, a mic like the VideoMic Pro is tailored to perform well when plugged directly into the camera. This has to do with the individual spec on the mic.
The camera only version sounds like it’s a line port, not a mic port.
You said,”It will not be as much, but you would still get a large amount of floor noise if you connected the NTG-2 to a Zoom H4n.” So would you run the mic into the preamp and then it into the H4N, to reduce floor noise?
We have run the NTG2 into the H4N for reg dual sound recording, but sometimes we do that and then run the H4N into the camera mic port, when there is a major time crunch, (with an attenuating cable). And it’s not too bad.
I want to know where the JuicedLink would fit in.
Also, what mic holder is on the end of the boom pole? Looking for a better shock mount.
Sounds like you are using the Zoom H4n as the Preamp into the camera. If you are not concerned with recording dual audio, you could eliminate the H4n with the JuicedLink. If you want to get better sound into the H4n from the NTG-2, you could use the JuicedLink in between. Dial down the levels in the Zoom H4n and turn it up in the Juicedlink.
Thanks Oliva for the nice review…Great Vid..
Olivia,
Thanks for the great info. I am wondering how this setup would differ from the same mic with the Tascam DR40, then using the output of the DR40 to the camera’s mic input. I am sure the JuicedLink is a better solution, but I already have the DR40. I am getting sick of audio syncing, so this could save me a great deal of time in post.
@Scottrellwi The setup from the recorder into the camera could work, but this particular microphone requires plenty of gain. The DR40 could provide phantom power to this microphone, but i’m not sure if it will be comparable to the clean gain from a Juicedlink.
Can’t see the video Olivia…….It’s private now….
The test was flawed so I pulled it down. I did an updated video HERE