@spacewig Yeah, you're totally right, audio it's something new for me and that's the reason why I'm looking for suggestions from people with experience and knowledge. And yes, I will search in the next days for some manual (but in italian Language XD). Anyway, thanks for resolving my doubt regarding using only the recorder :)

Another question, I find the Olympus LS-100 almost at the same price of the Tascam DR-100 MK II, wich of this two would you guys recommend?

@spacewig

Less emotions, please.

to all

Better organize test to compare cardioid, hypercardioid and shotgun (not very long) in room with lots of reverb.

By room tone I mean room reverb, and, uh, yes, boom mics pick up plenty of it. A cardioid pattern severely attenuates sounds coming from directly behind the capsule which is where the reverb is coming from (from the mic's perspective). Since you're a fan of simple science compare the pattern of a shotgun mic to that of a cardioid and tell me what part of these very simple graphs you don't understand and that I'm contradicting.

@Shaveblog - shotgun microphones do pick up room tone. All microphones pick up room tone. That's why any professional location sound mixer worth his salt will record quiet room tone for cutting and mixing purposes in post, regardless of what microphone was used. It's also not true that shotgun microphones are ideally suied for distant subjects, unless you call 3'-6' distant. Any further than that, and you need to rethink your approach.

Perhaps you should consider a small diaphragm condenser mic then since shotguns tend to pick up room tone.

@JP_91 Where do you think you will do most of your filming, indoors or outdoors?

you are welcome! As additional information: there are some phantom powered mics with a battery e.g. above mentioned Røde NTG-2 or Sennheiser ME66 with K6. But if its possible I would always recommend to have another person as boom operator. In most of cases an on camera mic is too far away from the scenery

Internal mics of the recorder (DR-100mKII I own, or any other brand for that matter) aren't good in any situation if you want to record voice (unless you put the recorder on frame in front of your talent mouth). The recorder is only used to record the sound from the mic (MXL FR-300 for example) you plug in it. It's better to use a recorder than plug the mic directly to your camera because the external recorder usually has better pre-amp (-->better sound) and proper monitoring.

Then, the best you can do now is buy a recorder you can afford and a shotgun (+boom pole, shock-mount, windshield, etc) and practice microphone placement. There is no better way to have good sound than to know how to find the best position for your mic. With practice, you'll find out that it's sometimes more handy and effective to use lav and you will learn the limits of using shotgun (indoor). Then, from experience you'll know what are your real needs, and find out the good gear without spending money for nothing.

It's like learning to use light for your image. Learn to use what you have (even practical & natural lights) and once you find out limitations, you'll know which upgrade work best for you.

Please guys, don't argue among yourselves. I like to have much more opinion possible and I thanks everyone for the help, but apart from personal tastes and opinions, my question is what I really need for a good audio. I can use only MXL FR-300 or AT-875r, or I need also a good recorder? (like the DR 100-MK II Vitaliy suggested some post above). And again, is useful to use them together or I have to use only one of them on the boom pole depending on the situation? (recorder for internal scenes and directional for external?)

@Vitaliy_Kiselev It's not just a bunch of bull. True condensers tend to be better than electrets. It was my mistake thinking the lower price AT mics were True condensers. (see post above)

I still stand by my suggestion of an AT-875r as a good all rounder. It will outperform that MXL 300 model with the long tube in an indoor situation and perform nearly as well outdoors. Most "pros" don't use shotguns indoors because of the phasing from the tube from wall reflections.

A good review on several mikes including AT-875r:

http://www.kenstone.net/fcp_homepage/right_mic_brockett.html

There are also some discussion on PV about using this mic directly into GH2. (I personally recommend spending the money for a preamp or seperate sound recording device).

I am not impressed with MXL mics. For similar pricing get a Audio-Technica which are true condenser mics (not electret).

So, you are not impressed with that? And why all this bullshit with "true condenser" ? MXL mike is same "permanently polarized condenser" mike.

Issue is sensitivity, AT has 31.6 mV/Pa, MXL has 45mV/Pa.

If you are going to be semi-pro you need multiple mics: shotguns, pencil cardiods, lavs, etc. to provide best recording for a variety of situations.

In future, yep, but best idea is starting small. And one shotgun is absolutely enough for beginning.

I am not impressed with MXL mics. For similar pricing get a Audio-Technica which are true condenser mics (not electret). For a very capable all rounder (indoor and out) I'd go with a AT-875r which can be had at a street price for $160. It has excellent sensitivity but does have a broader pickup than longer tubes. The short tube allows you to use indoors without alot of the phasing you get with the long interference tube mics. You will need phantom power from your recorder though. (A good idea anyway since phantom power usually results in better mic performance from most manufacturers.)

If you are going to be semi-pro you need multiple mics: shotguns, pencil cardiods, lavs, etc. to provide best recording for a variety of situations.

I'd second what @Vitaliy_Kiselev said about a boom pole! Close overhead mic placement makes a world of difference compared to even the best mic mounted on camera.