What's with the foam windshield indoors? (Location sound for film and TV)

[Tomás Mulcahy]

It seems very common. IME even the best ones will muffle the mic a little. But most of these are the foam which is definitely detrimental to timbre. Is it considered not worth worrying about for dialogue?

See linked example below. This is a nice idea for a piece, but all the mics with foam (and in one case a Rycote) bothered me so much I had to watch it again for the composition

https://www.theblackandblue.com/2021/01 ... criterion/

[Mike Stranks]

I agree - in part!

For location sound indoors you often do need some kind of light windshield to avoid the movement of a sensitive mic on a boom resulting in wind rumble. Rycote do make small windshields especially for those purpose.

But I do agree about static mics. I would argue that indoors in a static situation a foam windshield is normally unnecessary. The only exception would be if you have a pop-prone mic that you have to use up close and personal on camera. But generally I'd say that if you're popping the mic on a spoken-word video or podcast or other spoken recording then you don't have the mic positioned properly or you're working it too close because have a duff room.

[Bob Bickerton]

I’ve had to use a pop shield on microphones that had to be positioned within an airflow from an air conditioning system.

Bob

[Hugh Robjohns]

This is a complex topic due to the number of variables involved in different shooting situations, and since we don't know the situation I wouldn't rush to judge...

However, if the mic is mounted on a fixed static stand above a seated interviewee -- as the video appears to show -- then a foam gag isn't generally necessary.

...unless there's any kind of draught in the room (from ventilation etc) when it may be necessary.

...or if the mic is being poled (boomed) between interviewer and interviewee then it would definitely be needed.

It's true that a foam windshield may introduce a gentle HF roll-off, but its not usually significant, doesn't affect intelligibility, and is often just ignored and uncorrected during simple editing/post-production.

Other valid reasons for using a foam windshield indoors may include:

1. The foam has a white tip to aid the camera operator spotting when its in frame.

2. Other mobile indoor scenes filmed as part of the shoot needed the windshield, so it was retained in static situations to maintain tonal consistency through the edit.

3. The shoot setup was so quick that the sound recordist simply didn't have time to de-rig it from the indoor mic!

Naturally, as intimated in the original post, its also common for windshields -- foam or even full outdoor fluffies -- to be left on purely through ignorance or, worse, general laziness, sadly.

[shufflebeat]

uninformed question, now that the subject is up and running -

Would a foam pop shield be useful in avoiding potential wind damage to old ribbon mics?

[Drew Stephenson]

uninformed question, now that the subject is up and running -

Would a foam pop shield be useful in avoiding potential wind damage to old ribbon mics?

Probably but it might do funny things to the low end. Mr Inglis and I were talking with Stewart Tavener (from Extinct Audio / Xaudia) and he was saying using a pop screen too close to the mic can affect the low end because of the pressure between the screen and ribbon.
I'd expect something similar from a foam cover.

[shufflebeat]

Makes sense, ta.

[Bob Bickerton]

I nearly always use the windshields supplied with my AEA N8 ribbons mics - I’m not aware of any compromise in doing so.

Bob

[shufflebeat]

I nearly always use the windshields supplied with my AEA N8 ribbons mics - I’m not aware of any compromise in doing so.

Bob

I happened across the chat with Wes Dooley on Doug Fearn's podcasts (#5 here: https://dougfearn.com/Episodes-1-10/episodes-1-10.html) which was very entertaining and informative.

[/derail]

[Drew Stephenson]

I nearly always use the windshields supplied with my AEA N8 ribbons mics - I’m not aware of any compromise in doing so.

Bob

I suspect the key thing there is that they've been designed to work with the mics in question. But I am not an expert.

[Mike Senior]

Other valid reasons for using a foam windshield indoors may include:

1. The foam has a white tip to aid the camera operator spotting when its in frame.

2. Other mobile indoor scenes filmed as part of the shoot needed the windshield, so it was retained in static situations to maintain tonal consistency through the edit.

3. The shoot setup was so quick that the sound recordist simply didn't have time to de-rig it from the indoor mic!

Cracking response, Hugh! Loads of things I'd never considered as a 100% studio-rat...

[The Red Bladder]

1. The foam has a white tip to aid the camera operator spotting when its in frame.

2. Other mobile indoor scenes filmed as part of the shoot needed the windshield, so it was retained in static situations to maintain tonal consistency through the edit.

3. The shoot setup was so quick that the sound recordist simply didn't have time to de-rig it from the indoor mic!

4. It will otherwise go missing.

5. The mic box it came from is in the mic locker.

6. It helps to keep the mic clean.

7. Nobody really cares if it is on or off.

But Hugh's number two reason is the most important - especially for ADR work.