What makes them different? VP83F has an internal digital flash recorder while VP83 does not. In this short video, Chris Lyons explains the key features of each model.

Both mics will be available this summer.

Read more details about the VP83 LensHopper™ Camera-Mount Condenser Microphone and VP83F LensHopper™  Camera-Mount Condenser Microphone with Integrated Flash Recording on shure.com.

To address some of the common situations videographers face when creating corporate or online videos, we have launched a three-part video series. The topics include: How to Mic Someone at a Computer; How To Sync Audio and Video; and How to Mic a Walk -and- Talk.

How To Mic A Walk-and-Talk

The “walk-and-talk” video featuring a company spokesperson is a popular way to help people engage with your brand.  In this video, we’ll show some ways to record professional-sounding audio in an office or industrial environment – even when the subject is moving.

To address some of the common situations videographers face when creating corporate or online videos, we have launched a three-part video series. The topics include: How to Mic Someone at a Computer; How To Sync Audio and Video; and How to Mic a Walk -and- Talk.

How To Sync Audio and Video

One way to improve the sound quality of your videos is to use an external audio recorder.  But how do you synchronize the recorded audio track with the video from the camera when editing?  In this video we demonstrate an easy method whose roots go back to the early days of talking pictures.

To address some of the common situations videographers face when creating corporate or online videos, we have launched a three-part video series.  The topics include:  How to Mic Someone at a Computer; How To Sync Audio and Video; and How to Mic a Walk -and- Talk.

How to Mic Someone at a Computer.

Miking someone sitting at a computer for a podcast or webinar seems simple, but mic choices and room noise often conspire to deliver poor sound.  In this video, you’ll be able to compare the sound of different types of microphones, and learn how to overcome the effects of a noisy room.

But if you spend any time on YouTube, Hulu and other UGC sites, you’ll notice that the audio (especially when a subject is speaking) can be garbled, muddy and unintelligible.  If there’s one thing we’ve learned, it’s that audio quality can make or break any video project. No matter how creative and professional the visual aspects of a production may be, these qualities can be completely negated by lackluster audio. According to one videographer we know, “It’s easy to fool the eye, but it’s a lot harder to fool the ear”.

Creating good audio can be a real challenge when shooting video – especially if you’re using a consumer-grade camcorder. Mics that are built into camcorders aren’t really designed for high-quality audio.  They are designed for sound sources that are very close to the camera and they tend to pick up a lot of background noise.

We like how video expert Israel Hyman puts it: “The microphone is in the wrong place. Frankly, the reason the microphone is on the camera is because it’s built for the camera operator to do the talking. If you’re a parent narrating your child’s birthday party, this is perfectly fine. It will get your voice and your child’s voice (even though it will sound distant). If you’re aiming for a more professional sounding video, you don’t want the off-camera, out-of-frame camera operator’s voice. You want the microphone on the subject”.

Adding an external mic – a handheld, lapel (or lavalier) or a shotgun mic – gives you what matters the most – the best signal-to-noise ratio.  In this Shure Notes® blog post, we’re going to give you some tips about the third type – the shotgun mic. Its extremely directional pickup pattern (called a line/gradient pattern) makes the shotgun mic popular for TV news and movie sets.

The shotgun microphone is named for the long, slotted tube in front of the microphone cartridge that makes it resemble a shotgun. This “interference tube” helps reject sounds coming from more than about 30 degrees off to the sides, while still picking up sounds from the front.  Because a shotgun mic is either mounted to a camera or a boom, it is rarely seen by the viewer.   In fact, it’s almost impossible to imagine a situation in which the mic should appear in frame (unless you’re making a video about making a video).

Advantages

Let’s talk about what shotguns mics are not: They are not telephoto lenses for sound. They do not allow you to zoom in on a conversation from 100 feet away.

Here is how Shure’s Chris Lyons explains it: “Imagine looking through a long tube at a person standing 20 feet away. The person’s image does not appear to be any larger or closer, but is somewhat easier to see, because the eye is not distracted by things happening off to either side.”

This is exactly what shotgun mics do best: they screen out sounds coming from the sides. In practice, a shotgun microphone can typically be placed at four to five times the acceptable distance for a standard omnidirectional microphone. But keep in mind that the shotgun mic will also pick up sounds coming from behind the subject.

Tips for Using Shotgun Mics

• Shotgun mics can be positioned slightly above, below, or to the side of the sound source, so that the mic doesn’t appear in the camera frame.
• Try to avoid aiming the mic at a hard surface, such as a tile floor, brick wall, or hard ceiling. These surfaces reflect sound waves, and may reflect background noise into the microphone or cause the sound to be slightly hollow. (A heavy blanket can be placed on a reflective surface to provide some temporary sound absorption.)
• Shotgun mics are more sensitive to wind noise than standard microphones, so try to avoid moving the mic rapidly and use a foam windscreen if possible.  (Larger “zeppelin” or “blimp” type windscreens are usually necessary outdoors.)
• It’s a good idea to use a rubber-isolated shock mount to control handling noise that may be transmitted through a stand or boom.
• If you’re using a boom for a scripted video, make sure your boom person has a script.  If more than one speaker is going to be miked, the boom person needs to point the shotgun at the right person at the right time, a challenge when the mic needs to remain out of frame, the sound has to be consistent and the boom may be over 20 feet long.

What to look for when buying a shotgun mic

Mics with a balanced XLR outputs signals will give you better noise and interference immunity.   Remember, too, that if you have a stereo mini-jack input on your camcorder, you’ll need to get an XLR camcorder adapter that will allow you to use professional quality microphones.

Shure offers two end-address shotgun condenser microphones.

VP89

Offers a choice or interchangeable long, medium and short capsules.  Hand-tuned and assembled in the US, offers natural off-axis rejection without coloration.

VP82

This mic is designed for camera-mounted applications.  It is extremely lightweight and has an integrated preamp.

Want more information?

 Check out the Shure educational video on Shotgun mics shown above!

Interview with Mark Jensen.

You’re an IT guy and a voice-over talent, in addition to being the force behind NewMediaGear.com and Studio1A Productions. Can you explain how these inter-relate?

I am fascinated with technology. This drive rages stronger now than ever before. From on-air radio guy to Senior Global IT Engineer and finally media entrepreneur, being at the forefront of technology has relentlessly guided my careers.

Analog, digital (HD), satellite and even streaming radio all have common bonds. Computer technology slowly, then rather quickly, swept its way into audio. Information Technology is embedded in almost every facet of our lives, technically and artistically – from electronic books, smartphones to broadcast and recording – technology rules.

In this issue, we’re talking about audio for online video, thinking specifically, about creating better web/YouTube videos than the kind that might be created using a mobile phone, webcam or camcorder’s built-in microphone. So, let’s start with – what’s wrong with using one of those built-in mics?

In the short term, these low-quality, integrated microphones seem fine. But, when we think long term, cutting corners with technology deals us a terrible blow. Think about being able to go back in time and actually hear the voices of people and experiences that can never be re-created– decades or even centuries old. Wouldn’t we want to capture those moments with as much sonic clarity as technology allows? True, it’s not practical to carry around a sound studio.

However, with kits like the Shure SM57/X2u and the USB port on your laptop, it’s becoming much more practical to capture professional audio on the go.

There are as many mic options, probably, as there are broad categories of online videos. What mic recommendations and tips do you have for specific applications?

First, remember that the most expensive microphone is rarely the best choice. In a world of picky sound engineers and thousands of choices, few would disagree that the affordable SM58® is the most popular, versatile microphone in the world.

Let’s say we want to capture the voice of a strong vocalist, singing lead. Right away, I think of condenser microphones. Most large diaphragm condenser mics are very sensitive, able to capture subtle nuances and wide dynamics. With that heightened audio acuity, and without a sound studio, you run the risk of recording your neighbor’s dog barking or the subtle sound of a door closing on the other side of the house.

How about recording narration for a video? Here, a good dynamic microphone works great because it’s a passive device and won’t generally be as sensitive to ambient sounds. Yet, a good dynamic microphone will brilliantly capture the mood of speech.

Social journalism intrigues me. Here, a reporter style, tough as nails (an SM57 with wind screen comes to mind) dynamic works great. They may have better lighting and cameras, but with some experience, an individual can match the audio quality of your local television station.

I grew up around radio broadcast microphones. If you have a dedicated room, and want that radio look to your video, try an SM7B on a boom. If you want a retro look, blow them away with the timeless Super 55.

If you’re recording several people, using a single microphone, I would huddle them around an SM58. This mic is known for being able to take on a completely different character by close or medium talking the mic. Have you ever watched a comedian on stage wrap their hands around the microphone head, achieving a bassy, or even muffled sound for dramatic effect? This is proximity effect and the SM58 made this stage technique famous.

What are the most common mistakes beginners make producing their first short videos?

Always watch the audio levels. When it’s live, and there is only one take, set your audio record levels low on the camera. Audio levels can be boosted later, but over-driven, distorted audio can make a great shoot unusable.

If levels vary wildly, check your video camera for an audio compressor or limiter. If you’re confident the levels won’t distort (record at or above 100% or 0db), then run without the compressor. Record a few dry runs to get an idea of just how much room there is from silence to the loudest sound or voice you are recording with your camera in the scene/environment.

Don’t use video camera (or webcam) built-in audio. Take the time to assess your project. Storyboard it and plan the flow, even if you scribble something at the last minute. Effective video requires planning and coordination.

A visible microphone in your video can actually lend credibility. Microphones are frequently used on television talk shows as props. If you can dedicate room to a studio and large table, go for the classic Shure SM7B on a boom. Save finicky lavaliers for shots when a visible microphone just won’t work.

As mentioned above, don’t rely on your video camera microphones. If you are constantly on the move with your camera, consider mounting a shotgun type microphone on it. This will give you maximum clarity right where you want it.

What limitations does the Internet (or YouTube-type platforms) have on audio production?

I am blown away with the inexpensive tools and the creativity found in today’s “Tube” type videos. Professional audio/video hardware and software has never been more affordable.

While the file size, and stream time, of Internet video has made incredible progress, there are still limitations. Too many times, I see Internet video shot in 1080p and high bit depths, just because it can be done. In reality, most Internet video will be transcoded (converted) to a much lower quality that still looks incredible. For me, 720p, at a reasonable bit depth is the sweet spot.

There are other video issues beyond the scope of this article, such as rolling shutters and resolution vs. bit depth and optics. Experiment and try to get the best quality shots without maxing your cameras video settings.

In audio, bigger and pricier will not always give you better results. Some of my most inexpensive microphones get the most use. The important part is that they are all professional. To me, a professional microphone means it has a balanced (XLR connector instead of the small consumer 3.5mm unbalanced). With a product like the Shure X2u, you can instantly plug in a pro microphone while the other end goes to your computers USB connector. That type of flexibility simply wasn’t available 10 years ago.

You’re also a podcast producer. What are the similarities (or the differences) between recording for podcasts and recording for video?

I like to punch the final audio levels a little harder when creating audio-only. Ideally, I would compress my audio more because people may be listening in noisy areas or in the car with the windows down.

Video can be a little more gentle and refined because the visual helps articulate your message. Also, your viewers are typically consuming your media in a quieter environment.

Try this experiment. Listen to a few minutes of random television shows. Listen only to the audio. Then, turn on a few random radio stations. Notice the difference in overall sound? Much of that difference is due to video stage production and the stations final processor. Sometimes television sound is captured live, but high budget film and television use a technique called automated dialogue replacement (or ADR). After a video shoot, the actors will lip sync their lines in a sound studio, achieving the highest quality audio experience and advanced mixdowns. I’m getting off track here, but the underlying concepts and foundations of audio are universal.

Don’t let all of this impede your message. In the end, that famous saying is still paramount: content is king. Use the best tools available, but never lose sight of your message and your audience.

Got a favorite Shure mic? What do you like about it?

I do! It’s a PG27. There is just something about the way that microphone articulates my voice. It’s ultra crisp and clean. It always gets the job done. Being a studio condenser, it is larger than most hand held microphones, but the sound is amazing for speech.

ABOUT MARK JENSEN

Mark lives and works in Orlando, Florida with his awesome wife Laura. He is a Microsoft Certified Systems Engineer, FCC licensed radio operator, national media producer and agency voiceover talent, while running his flagship syndication NewMediaGear.com.

You can reach Mark at: mark@newmediagear.com

Let’s say you’re not quite ready to invest in a professional rig and you’re planning to get started by using a basic consumer model. While you may have to make trade-offs in optical features like zoom choices and video standard (is HDE important?), we asked expert Mark Shapiro, editor in chief at Internet Video Magazine, to lend a clear, intelligible voice.

Creating good audio is the most difficult challenge when creating Internet videos – especially if you’re using consumer-type camcorders. It’s easy to fool the eye, but it’s a lot harder to fool the ear.

If you make a mistake with audio, the ear will catch it while the eye is a lot more forgiving of video problems and inconsistencies. And if you spend a lot of time on YouTube and other user-generated video sites, you’ll notice that the sound on many of the videos is garbled, muddy and often unintelligible.

Take heart. There are many ways you can make your videos sound a lot better without having to spend lots of money, go to film school or hire a sound engineer to help you shoot your video short. Here are seven.

1. Use an External Microphone

If possible, use an external mic. Unfortunately, the microphones built into most camcorders are not very good. Even worse, they’re omni-directional and will pick up sound from everywhere.

Even though most of these mics have a somewhat ellipsoidal pickup pattern (aimed more toward what is in front), most camcorder mics will pick up mumbling, heavy breathing and other extraneous noises. A few camcorder mics will allow you to slightly focus their mics from wide angle to narrow.

And here’s another issue: on many camcorders, the mic is not well located and can easily get in the way of fingers adjusting focus, activating effects and zooming in.

The good news is that digital camcorders record digital sound. This means you should be able to record high fidelity, stereo, and CD-quality sound assuming you can get the audio into the camcorder in the first place. This is why you need an external mic that plugs into the MIC IN jack on your camcorder. Most good camcorders will have a MIC IN connector as well as a shoe to mount the mic on.

Unfortunately, many of the more affordable camcorders – especially those tiny “pocket size” camcorders, do not offer an external mike  connection at all and you need to rely on other tricks to improve the audio.

Many camcorders also offer active “hot shoes”. This allows you to plug an external mic onto the “shoe” and transmit the audio directly from the mic to the camcorder’s electronics.

If you’re on a limited budget, the best choice for an external mic is a basic telephoto or shotgun that can be adjusted to zoom out when you want to capture the sound from a crowd or zoomed in when you want to capture sound from a source a good distance away. And if you can afford to upgrade, go wireless and get a wireless lavaliere system. Even better, get a wireless kit with a receiver that mounts on the camcorder and includes both handheld and lav wireless mics.

2. Use Lavalier Microphones

A wireless microphone system is usually a bit more expensive than a basic shotgun mic, but allows you to get much better sound.

I prefer using these for shooting interviews. Instead of using a handheld mic or a shotgun mic, simply pin the wireless lavalier and its transmitter to the interviewee’s lapel or jacket and then the sound of their voice will be transmitted back to the receiver unit that is mounted on your camcorder.

In most interview situations, you don’t really need to hear the questions except for in the editing process. Of course, if the interviewer’s voice is important, then use another lav mic or have them hold a mike. Feed both mics through an audio mixer and then into the camcorder.

FYI – In many video interview situations, one camera is used to capture video and sound of the interviewer and a second camera is used to capture video and sound of the person being interviewed.

3. Close Mic

If you don’t have a shotgun mic or good wireless microphone system, or if your camcorder doesn’t have an audio input jack, then the next best thing is to get close.

If you need a long shot for artistic reasons, you might want to shoot the scene again – just for audio. Have your actors do their lines a second time so that you can get good quality audio and then dub it in later to replace the bad audio. If the shot is far enough away, the audience will never notice that the actors’ mouth movements don’t exactly match the audio.

During the editing process, you can also have your actors re-record the audio, duplicating the original dialog so that it matches. You might want to use the same camcorder to record the audio so that the audio quality matches. Also, this is where room tone can be very important.

Most camcorders have an electronic circuits built into them called AGC or Automatic Gain Control. It automatically adjusts the sound recording level so that the camcorder will pick up something, no matter how faint. The further you are away from your sound source, the more the AGC has to magnify the sound. The more it amplifies the audio, the more it also amplifies the surrounding noise as well.

If the audio source is faint, the camcorder may adjust the AGC pick-up sensitivity so high that it even picks up the sound of the camcorders motors and gears.

And don’t forget – getting close will not only make your audio sound better, it will make your video look better.

4. Record Continuous Sound of Events or Performances

If there are problems or breaks in the audio, it’s almost impossible to cover them up by using creative editing. If a visual doesn’t quite match or you get a strange out of focus shot or two, it’s easy to replace it with a cut-away or new angle. But with audio, your audience will notice every small change and gap in the recording.

When you record a performance or event, make sure you record and capture the sound as a continuous event – without any breaks. While the camcorder is rolling and capturing the sound, you can be zooming in and out, getting different shots, shooting close-ups, and so on.

For example, when I was in Hawaii with my kids, I taped my kids’ hula lesson. Later on, it was easy to edit the video by just inserting shots of new video over the clean audio track. In addition the shots of the class itself, I inserted visuals of the entire Hawaii trip.

5. Monitor Your Audio

If your camcorder has an earphone or headphone jack, use it! Especially when recording tricky audio situations like concerts and live performances. Even though you don’t want to be recording where the audio levels are too low, you also don’t want audio that is too loud or distorted. In concerts, it may be helpful to turn the mic away from the stage and catch the sound coming from the ceiling.

By using headphones, you can monitor the sound. This is very important when a dead battery or a disconnected mic plug or cable may spell disaster.

6. Use a Portable Audio Mixer

Professional video makers just don’t plug their mics directly into the camcorder and record raw sound, especially when recording a concert performance.

By using a mic mixer with level controllers, you can use several mics to get the best quality sound for recording stereo. Most mic mixers also provide a headphone jack for monitoring the audio quality as well as record volume dials. On many pro camcorders, this mixer and volume control system is built into the camera. And some camcorders allow the operator to record, control and monitor up to four different audio tracks.

7. Capture Room Tone

If you plan on editing your videos, you’ll want to remember to capture a minute or two of room tone (or the ambient sound of the location when nothing is happening).

Every location has its own background buzz. It can be the sound of the surf pounding away in the distance, it can be the sound of the city outside the walls of a ballroom, and it can even be the soft buzzing of the lights and electronics in an office. By recording this background tone and using it while editing, you will be able to insert it into your video to cover any gaps in your audio recording. By cross fading from the good sound to the background tone, the loss of audio won’t be as jarring as going from voices and singing to deafening silence. If you are mixing in new sound or recording dialog, you can help make it seem like it really belongs by mixing it with the environmental sounds.

If you are able to integrate these seven tips above into your daily video shooting process, you will find that your videos suddenly seem to be much better. Your friends and family might not be able to put their finger on it they may not be able to isolate what has improved, but they will definitely better appreciate your work.

Mark Shapiro, has been producing and writing about video for over 35 years. Internet Video Magazine, launched in 1999, is the web’s best source for how to shoot, edit and post Internet videos destined for business and personal sites, as well as for public sites like YouTube and Vimeo.