I'm considering upgrading from a GH2, mainly due to the slightly better audio abilities of the GH4 (headphone jack, 3.5mm input). I shoot a tonne of interviews so it would come in handy. I've just got a few questions about the GH4 which I'm finding difficult to find answers on...

FYI: the audio devices I'll be using with the GH4 are the Rode Video Mic Pro or a Sennheiser wireless lapel mic (e3 kit).

1. Is it possible to adjust audio levels via a function button or some kind of PHYSICAL button on the camera?
2. If not, is the touch screen audio level adjustment actually useable during shooting or is it very fiddly?
3. Assuming I buy a GH4 that doesn't have the buzzing issue, is the audio quality acceptable?
4. Are there any random quirks to the audio of the GH4 I should know about?
5. Does the GH4 have any issues like the GH2 where the audio levels change slightly once the 'record' button is pressed?
6. How is the audio level meter? Is it accurate / helpful etc...?

I'd be keen to hear from anyone shooting and recording audio with the GH4 and get their feedback and opinions. It'd be great to ditch the Zoom H4n recorder that I use with the GH2.

Cheers!

I accidentally started a conversation on the Driftwood patches thread on audio straight into the GH2 with the 448kbps audio patch.

I am a documentary photographer and recently joined the PV forum after deciding that a GH2 is the tool to have for my work.

I had two queries regarding spanning and in-camera playback and they both have been answered in the Driftwood patch thread: 64GB SD Sandisk Extreme Pro 95mb/s is the only card that spans with Moon T7 reliably and the 448kbps audio patch will make any clip non playable in camera.

Now, to the reason of this thread.

My needs are to simplify the gear I carry with me. I used to work with Rode Videomics plugged to my 5DII and that was that. The audio from them wasn't great.

Now, with the 448kpbs hack, the GH2 can be a great audio recorder without the need for an external recorder like an Edirol or a Zoom.

The conversation as left in the Driftwood patch forum relates to these two tests I found for shotgun mics (most of which can be plugged straight to the GH2) which are outdoors and at two distances.

The distance from where I work and from where the mics would be to my subjects is in between those two tests, both indoors and outdoors.

So far, through my DT770 32ohm which is fed by a Dragonfly, the MKE600 is a bit bassy but very good and the AT897 and the MKH 416 perform similarly at a distance. Close up, the differences are far more obvious.

Also, there has been a suggestion of using an ISK CM 60 which is battery powered:

http://www.swamp.net.au/isk-cm-60-battery-powered-condensor-microphone.html

However, I am unable to find a sample from it. @oto02 said he is getting one and getting ready to test it.

Also, @Jim_Simon mentions that the GH2 can record really good audio so I have hopes that I can work out this rather simple rig for documentary work (TV, festivals)

Many thanks for all contributions in advance.

EDIT: I just heard the tests again with my Sony V6 and still, the AT and the 416 sound roughly similar on both. I am not sure if the MKE 600 equalized would be similar to the 416 raw or if one can up the bass a bit on the AT and make it sound less flat. Both, At and 416, sound crisp.

The MKE 600 comes fully equipped with a foam windshield that reduces wind noise by around 25 dB; the shock mount and a carrying case are also included. For outside broadcasting, a ‘blimp’ basket windshield (MZH 600) – a combined foam windshield and hairy cover that reduces wind noise more effectively than a foam windshield – is available as an optional accessory. A further option is a coiled connecting cable (KA 600) from an XLR-3 connector to a 3.5 mm jack plug.

Specs:

• Pick-up pattern - super-cardioid/lobar
• Frequency response 40 Hz to 20 kHz
• Sensitivity with P48 phantom power 21 mV/Pa
• Sensitivity with battery power 19 mV/Pa
• Max. sound pressure level with P48 132 dB SPL
• Max. SPL with battery power 126 dB SPL
• Equivalent noise level with P48 15 dB (A)
• Equivalent noise level with battery power 16 dB (A)
• Power supply 48 V ± 4 V (P48, IEC 61938) via XLR-3 or
• AA battery/rechargeable battery (1.5 V/1.2 V)
• Current consumption with P48 4.4 mA
• Operating time with battery approx. 150 h
• “Low Batt” indicator < 1.05 V; approx. 8 h remaining operating time after initial indication
• Diameter 20 mm
• Length 256 mm
• Weight 128 g (without battery)
• Operating temperature –10 °C to +60 °C

The MKE 600 will be available from IBC 2012.

Here is link to exact combo pack I purchased at B&H. It sells there for $524, but I'm discounting mine to $399 with free shipping. http://www.bhphotovideo.com/c/product/481530-REG/Sennheiser_ME66_K6_Super_Cardioid_Short.html

Rode VMP and wireless ew112 with 1-19 sets in GH3

For example, there is a rumour going around that Sennheiser MKH 416 has been the "industry standard" throughout 70s and 80s (and even 90s) in many Hollywood films. Is this true? If yes, which films? Please mention them. I would love to listen to those films.

There is another rumour that Rode NTG-3 (and even NTG-2) is being used in film productions. If you KNOW this to be the case, then,please, list the movies that use NTG-3. (and I don't mean movies made for Vimeo, or amateur movies that don't stand the chance of being accepted into any decent festival)

If there are other microphones that you know of, please add them to this list and please mention which movies they were used in. Movies from any decade are welcome. (like, I'd love to know what mics were used in Taxi Driver, The Godfather, Network, Blowout, Reservoir Dogs, Pulp Fiction etc)