Yes, thanks it does help.
Still learning here...everything I can.

Redd:

If you want better than horrible sound---that is to say, decent to great audio----you have to forget your camera's onboard mic and use an external mic.

The kind of mic you use depends on your shooting circumstances. A shotgun on a boom works good for gathering audio from more than one, or changing, sources----for instance, in a group of people, any one of whom may speak. The boom operator can point the mic at the different speakers in turn, and get the mic closer to them, than might be possible for the camera operator.

On the other hand, if you're doing a VO or 1-person interview indoors, a shotgun probably isn't the best choice.

Always wear headphones (or have your sound person wear them) when shooting. It helps ensure that the mic is actually picking up audio, and whether it's any good or not.

However, a caveat: at least on my camera (maybe all of them?) you don't hear what's actually been recorded---you're just hearing what the camera's audio system is feeding to the recording mechanism. The audio can sound great through the headphones, but if the actual recording mechanism is compromised----the motor is stuttering or the heads are dirty or the tape is defective, etc.----you're still not gonna get good audio.

So it's a good idea to test before shooting, playing the tape back and listening to it (through the best headphones you have) to see if audio actually got recorded. I suggest you do this periodically through the shoot, too, when you have the chance. It's a sad thing to record a great piece---you think---only to find out at the end that your camera wasn't working properly.

I shoot allot of kids sports, specifically kids Soccer. I do want the audio of the game, sounds of game play, but not all the crazy parents yelling and screaming in back of me. Some of the language the parents are screaming out is rated "R" at a kids sporting event.
Typically I'll try and remove as much of the audio I don't want from the audio I do want and muffle the rest of what I can't get rid of by using a lower volume background sports oriented fast paced music.
I also like to have a half-time interview with the coach that I do with a portable green screen and use chromakey for a large professional soccer stadium with crowds for the background. Depending on the importance of the game I'll also do some short interviews with some of the players.
I'm not sure what type of mic to use with the interviews. I have been using the camcorders mic, but getting lots of unwanted other sounds as well.
Bottom line is I'm trying to have the best possible production I can. I know their just kids games, but I personally like doing the best job I can.

I’m using a Sony VX2100 and I do have a Azden SGM-X Shotgun mic. I’m not sure if I should also be looking at a wireless set-up and what kind…a lapel mic or hand held mic?

For the "staged" interviews you can get a wired lav mic and save a buch of money , plus no worry about interference and such. Wireless is great but if you are in a controlled setting and are using a camera mic, even a cheapy wired lav will blow you away.

wired lav mic?? cheapy wired lav??
Sorry, a little help with lav please.

Here's my recommendation for a "fixed" kit, or in other words, things you should own in order of importance:
1. Decent Lav. Lots to choose from, Giant Squid on one end, Countryman B3 on the other, several AT or Sony mics between.
This is for *most* indoor uses for interviews and such.

2. Good hypercardiod. My personal fave: AT 4053
For indoor booms, stand mounts, or close in use. Sometimes used for outdoors in enclosed areas like open garages or alleyways.

3. *Good* shotgun. Doesn't have to be great, but needs to be good. Azden and similar are a waste of money, IMO. The cheapest mic I'd look twice at is the Rode VideoMic, and that's only because it's got a pretty good sound on a marginally dubious frame. But sound is the key...
Shotguns are primarily for very large, open spaces such as outdoors or monster rooms where echo is not an issue. If the room has reflection, they will cause problems with the shotgun's pattern. Shotguns become omni at low frequencies, and usually become quite muddy when there are lots of echos in the room. There are a few shotguns designed to marginally cope with this, the AT897 being one of them.

4. UHF, Diversity wireless system to use on any/all of the above. If you need a wireless desperately, and cheap is your budget, look at the AT Pro88W wireless, it's the only one I'm aware of that doesn't have companding, and as a result, even though it's cheap it can sound great.

Your kit should have a balancing transformer or DI box in case you can't get the mic into the camera at the correct gain.

Those events are a nightmare, I edit a LOT of kiddies sports events. I've had one tape where the soundtrack contains "Excuse me mate, can you mind me camera for a minute, I'm dying for a pee" :)
And pretty regularly, "Are you making a video of this game, how much for a copy?" or "Is that a VIDEO camera?".

Get rid of the on camera mic!, typically when shooting sports if you've only got one camera it needs to be up a bit higher than the action and not right on the sideline, problem is, that's where the audience sits and they don't keep quiet.
Bob.

<. Azden and similar are a waste of money, IMO>
Gee, thanks allot Spot, now that I already have the Azden...it'll have to do. >;-}

<AT Pro88W wireless>
Thanks for the tip, found one at a good price via the net. Done. :)

< AT 4053 hypercardioid >
A little stiff for me at $500. at this time. :(

<Your kit should have a balancing transformer or DI box in case you can't get the mic into the camera at the correct gain.>
Thanks, I'm still trying to look these up on the web to see just what they are and how they work.

@ farss...
Yeah I know all the horror stories of shooting Soccer games. Been doing it for two years now. But with all the yahoos there to bug you, I still have a good time doing it.
It's hard to be above it. The coach will usually let me set-up on the side like at the center if I offer a DVD "for training purposes" >;-} I'd love to be able to have a second cam for close ups on penalty shots and such.

Thanks for all the advice.

One way to mitigtate the issue of the spectator noise is to use a wireless mic situated as close to the sideline as possible, with your camcorder up higher in the stands. Of course, this can give a bit of a disconnected feel to the sound. You will still get crowd noise, but much of the individual "conversation" will be absent.

I had this same problem trying to video a marching band from the stands. As loud as the band was, the noise around me in the stands was still highly intrusive. Of course, people usually don't swear at the band like they do at the referees.

Out of curiosity, any opinions on the RODE VideoMic Directional Condenser Camcorder Microphone?

I am just editing an interview I did using a Rode VideoMic mounted on top of a VX2000 camera. I am really amazed at how good it sounds. Keep in mind that it is a documentary type interview and there is background noise present, and also that I was using a wide angle lense and was just a couple of feet from the subject. None the less, the balance between speech and ambient noise sounds about right for an interview, the speech sounds natural and intelligable with no effort.

This particular interview was kind of a three way conversation between two scientists and an underwater photographer on a yacht discussing the lemon sharks they were studying. There were ambient sounds from the marina in the background. One of the scientists projected quite well and the other spoke quite quietly. Even the softer voice sounds fine. I'd never use any kind of on camera mic for a drama or anything like that, but for a close up interview, it really works well. With a wide angle lense zoomed all the way out, you are close enough for this approach to make sense.

The VideoMic shock mount system works really well and I don't notice any camera or handling noise with it. In the past I had tried using shock mounts with a Sennheiser shotgun and found the system akward and in the way. The VideoMic is small enough not to get in the way and is quite practical.

I found that I could move it forward on the mount several inches and still have it out of view from the wide angle lense I always use. Moving it forward also means I can use the handle on top of my VX2000 without the mic being in the way.

I really like the VideoMic and would recommend it highly for documentary type stuff. For anything dramatic, you really need shotguns and wireless mics, but for close up interviews the VideoMic rocks!

Thanks Laurence. The reviews I've read this eve are all positive, but getting a positive spot here really helps. The wmv on the Rode web site is very informative and seems that this mic has a great deal of versatility for both on and off the camcorder. I've done quite a bit of comparison-shopping around on the web and have found a good price.
Thanks for your input.

I like the Rode as well, did a review several months back.
http://www.sundancemediagroup.com/articles/Rode_VideoMic.htm

Rode have also now got a shotgun that looks pretty decent value for the money, comes in two version NTG-1 for phantom power only and the NTG-2 that can run off its own battery for those who don't have convenient acccess to phantom power.
Bob.

Recently I posted a video on the Cheinworks site:

http://vegasusers.com/vidshare/textdisp?laurence-backpacks

I did the voiceover at the dining room table using a Rode VideoMic plugged into a tiny Sony ICD-ST25 recorder. Aside from a little lack of high frequency response it sounded great. This is about as low budget a VO recording setup as is possible I believe: $150 for the mic, $150 for the recorder at Radio Shack (even cheaper online). It was super easy to use as well.

I have done reviews of the RODE Videomic, the NTG2, the NT3, the AT88W and the AT897 here. I like the Videomic. It sounds a lot like the NTG2, which isn't surprising since they share the same basic barrel design and capsule. It also has a little better max SPL over the AT897 on battery which might come in handy for really loud venues. I own the AT897 and like it very much but wouldn't hesitate to recommend a VM for typical short shotgun applications.

I'd be very interested in any comments Re: Beach Tek DXA-4 Dual XLR Adapter
http://www.beachtek.com/dxa4.html
I've been all over the web looking for something like this since Spot dropped that <balancing transformer or DI box in case you can't get the mic into the camera at the correct gain.> thing on me yesterday....which I still don't understand fully, but I'm getting there.
I am using a Sony VX2100

Thanks,
Redd

We've got a similar model Beachtek, works as it should, just make certain that model is the one that feeds phantom power to the mic.
Of course with the Rode VM you don't need that at all, it'll plug straight into the mic input on the camera, save you a lot of money.
If you get the Rode NTG 2 then you need a BeachTek to do the balanced to unbalanced conversion but you can save the cost of the models that supply phantom power.
To be frank, if you're really after being able to feed good audio kit into a camera you'd be better off with a PD 170 or DVX 100. The cost difference between the VX2100 and PD 170 soon gets eaten up when you have to add a Beachtek, to say nothing of the convenience and overall reliability.
Bob.

Selling my VX2100 is really not an option. I'd never come close to recover what I have already spent on it, so it would become a second cam. Then there's the cost of the PD 170, that's a fair chunck of change out of pocket. The better thing for me to do at this time is to improve on the VX2100 I already have. Between the AT Pro88W wireless, RODE VideoMic Directional Condenser Camcorder Microphone and the Beach Tek DXA-4 Dual XLR Adapter has cost a total of $433.89 U.S.
That's much more doable for me than $2000 -> $3000 for a PD170.
Course don't burst my bubble and tell me I spent too much on the audio exuipment. >;-}

After reading all the good reviews here recently, I have a Rode VideoMic arriving Monday. I also have a Sennheiser Evolution G2 wireless kit arriving this week.

I tried the AT88W on an event recording gig recently but, while its overall sound was quite good, it's VHF and every time the speaker moved or turned slightly a lot of interference noise was added.

That's why I've ordered the UHF G2 - if that doesn't handle it, I'll just have to give up and get a true-diversity system. The best ones I've heard so far are the Lectrosonics, but they're very pricey.

<Sennheiser Evolution G2 > Did you get the 100 series or the 300 series? Please post back and let us know how it works for you.

Course don't burst my bubble and tell me I spent too much on the audio equipment. >;-}

Hey, I like your shopping chops!

eBay? Or was it a local retail store with you offering double or nothing if the store clerk guessed which one of the three cups the ball was under after a moderate speed shuffle?

;O)