The 4097 CORE Micro Shotgun Mic is outfitted specifically so that it can be used in difficult filming locations like a car. Its foam windscreen protects it from wind noise, even when windows are down (due to tight spaces and camera placement). The built-in shock mount is also particularly useful when filming in a moving car. It has a small, slim, unobtrusive footprint and a black matte, non-reflective surface, which diminishes reflections from lights, making it even easier on the film crew.
A good plant mic is very handy and easy to set up. I often have to move the mics quickly from scene to scene so being able to mount the mic quickly and move it to a new location quickly is vital.
- Allan Holmberg, film sound engineer
A free-running nut at the MicroDot termination of the gooseneck has been added in order to allow the right aiming of the mic directly from the transmitter. This is especially important for quick mounting in tight spaces like in a car. With the 4097 CORE Micro Shotgun Mic, a sound engineer can clip the transmitter onto the sun visor and quickly turn the mic head in the direction of the actors.
Film and television sets tend to be fast-paced, high-stress environments and working as a sound engineer requires patience, flexibility and the right tool kit. While booming is, a traditional and often used style of miking on set, often a script/set renders booming impractical, so sound engineers must turn to lavs and plant mics.
Sometimes if you need to use different types of mics on a set, it can be a challenge for post production to create a consistent sound. The 4097 CORE Micro Shotgun Mic has the same sonic character as all other DPA mics typically used on film sets, such as the 4017 Shotgun Mic that is typically used on booms as well as the 4060 and 6060 lavalier mics, often used hidden in costumes. Having microphones with similar sound characteristics regardless of their form factor and pick-up pattern, is a great advantage for the film crew, as it helps reduce the cost of producing the sound mix. The post production process is much faster and retains the original information because the sound engineer doesn't have to cover up for mics with wildly different sonic characters.