REPORTERS IN MOVIES ALWAYS SHOW UP WTH A CAMERA CREW AND SATELLITE TRUCK. BUT THESE DAYS MOBILE JOURNALISM (OR MOJO AS IT’S CALLED) CAN BE DONE WITH PRO EQUIPMENT THAT FITS INTO YOUR COAT POCKET.
• Always bring spare batteries and chargers. Always, always, always.
• Context is more important than speed. Yes, mojo allows you to deliver content almost instantly, but additional context and insights will make your work stand out.
• Remember the journalistic six: who, what, when, where, why and how.
• Record extra audio and video that you can use to link sections in your edit (known in the business as B-roll shots).
• Never switch off the recorder until the talking is finished. People often relax and say the most interesting thing at the end of an interview and you don’t want to miss it.
• Don’t zoom on a mobile phone – you’ll just end up with a pixelated shot. Instead, move the camera closer.
• Lock your focus and exposure when you’re filming. Otherwise, the brightness and focus of your shot will keep changing and you’ll get a strobing effect.
STAY MOBILE If you’re using a phone-mounted mic like the MV88+ you have multiple setup options. For video interviews and correspondent-style piece-to-camera shots, use either a mono cardioid polar pattern* or narrow the stereo width to focus on the speaker. Check the levels, adjusting the gain if necessary, and make sure your audio isn’t clipping.
If you’re doing a tabletop audio interview, place the mic pointed to- ward the ceiling and then switch to the bi-directional pattern to capture both your guest and your interview questions. Once you’re recording, avoid tapping the table if at all possible!
RIDE SHOTGUN For DSLR cameras, shotgun mics like the VP83 and VP83F are the way to go. Just remember to switch the mic on! This is very easy to forget with camera mounted shotgun mics and set the signal level, so the audio is in the -12dB to 0dB range. If you are recording outside switch on the mic’s low-pass filter, as this will reduce wind noise.
HOLD IT Using a handheld mic is exactly as you’ve seen a thousand times on TV: just hold it up to your mouth, with a gap of about two inches (5cm) for a dynamic mic, or six inches (15cm) for a more sensitive condenser mic. Make sure you’ve got a foam guard on it to help with plosives and wind noise.
LAV-A-LOT Lavalier mics are very handy and not only because they keep your hands free! Clipping a lav on your interview subject is crucial if you’re recording in a noisy environment. A wireless body pack is the way to go if you can afford it, since this means you can film at a greater distance and get wider shots when appropriate.
*Learn more about polar patterns in the MIC BASICS section.
MOBILE JOURNALISM GEAR MIGHT BE SMALL, BUT THERE ARE STILL A FEW ESSENTIAL ITEMS YOU NEED TO GET THE MOST FROM YOUR MOJO.
PHONE ALONE It’s If you’re filming with a smartphone, you’ll want a lens with at least 12-megapixel resolution. And of course, with all those videos, pictures and audio files, the more storage your device has the better.
STAND IT UP Having a good tripod (don’t skimp!) is essential for piece-to-camera segments and interviews. Plus, it will also allow you to film smooth establishing and panning shots.
IN YOUR EAR Earphones are a great way to monitor your recordings. Preferably you’ll have wireless ones like the Shure Aonic series, so you don’t get tangled up in cables mid-interview.
DEADCATS, ETC. Also called windscreens or wind- jammers. Pick the funny name you prefer, we’re talking about the thing that cuts out the sound of the wind. Your mic probably comes with a foam windscreen, but a bigger and fluffier cover is crucial for recording outdoors.
EASiER EDITING iPhone-based editing apps are get- ting better all the time. If you’re an iPhone owner, you can use programs like iMovie or GarageBand to get the job done. The free ShurePlus MOTIV app also makes audio recording and editing easy. But spending just a bit will get you the mojo standard soft- ware for video editing from FiLMiC.
