Camera Mic for the C100

Camera Mic for the C100

After my 30 day shoot with the C100 and posting my likes and dislikes, I found that I was getting a lot of questions about what kind of mic I was using and what my overall strategy was regarding getting good quality audio in the field. So, I thought I would do a quick overview of how I set the camera up for sound.

C100 with a Sennheiser ME64 Short Shotgun and a Sennheiser G2 Wireless Receiver

C100 with a Sennheiser ME64 Short Shotgun and a Sennheiser G2 Wireless Receiver

Because Dean and I work as a two-person crew, Dean has to wear many hats and often steps in as an assistant director and kid/animal wrangler. When we’re not shooting lengthy in-depth interviews, scripted host segments or other elements with tricky audio, we’ll often rely on the camera mic to gather all the sound we need – so it has to do a pretty good job of it.

The Sennheiser ME64 is a great all-around camera mic. It’s perfect for general b-reel and grabbing the odd quick interview or soundbite on my own if I’m in nice and tight. The sound quality matches quite nicely with all the other stuff Dean is recording. We also mount a G2 wireless receiver. This the primary way Dean feeds audio to the camera from his mixer. It’s just so much easier and quicker just to turn it on and go rather than connecting and un-connecting audio. Plus, I’m much happier not being tethered to Dean and I’m sure he feels the same way. If we do encounter the occasional hit or dropout on the wireless signal, Dean always has a backup recording we can go to if needed.

Keeping everything tight and compact.

Keeping everything tight and compact.

Top view.

Top view.

On a side note, I really like to keep everything on my camera nice and tight – nothing lose, hanging off, bouncing around etc – it makes me crazy. I have all my audio cables made specifically for each camera I use. I get them the perfect length so there’s no extra weight or cable in my way, and I generally add right-angle XLR connectors so they lay nice and flat. Don’t hesitate to ask at your local camera shop for the same thing. Just take your camera and whatever mic or receiver you want to connect and have them measure everything and make some up for you. It’s quite inexpensive and well worth it!

To learn more about camera mounted mics in general and why the ME64 is our choice for a great shotgun, check out this video we posted a few months ago – lots of great info from Dean!

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  1. May 31, 2013, 4:26 pm   /  Reply

    Thanks Dean. How did you attach your receiver to the handle?

    • Dean Miles
      June 1, 2013, 9:37 am   /  Reply

      There’s a cold shoe on the front of the handle that most wireless receivers will have the ability to attach to. There’s also screw holes at the back to add an additional cold shoe if needed.

  2. January 2, 2014, 4:55 am   /  Reply

    What is the exact xlr you got and where did you get it? Ive order 3 cables now from BnH w angled adapters that go everyway other then flush back the camera like you have. its getting frustrating :/

    • Dean Miles
      January 3, 2014, 9:19 am   /  Reply

      Hi Jason, most of the time we have to get a cable made for the specific camera/mic setup. Because all cameras are different there’s no one-size-fits-all cable.

    • Scot McDonald
      January 6, 2014, 7:48 am   /  Reply

      Hi Jason,
      I see that Dean has replied to you but I thought I would as well. Yes, you do need to have them made – at least that’s what I did. I took my camera, shotgun mic and wireless receiver to my local camera shop and had their technician measure everything and make cables that fit perfectly and had the connectors in the correct orientation. It obviously costs a bit more but not that much. To have all your cables fit perfectly and be snug and out of the way is well worth the investment. In fact, I would recommend having the technician make up two or three of each cable you need so you always have a spare on hand.


  3. Michael Sergi
    January 30, 2014, 12:27 am   /  Reply

    Hi Scott,

    Thanks for the video. What brand and model is the shock mount you are using for the ME 64 on the C100?


  4. Krishna Yalla
    April 7, 2014, 7:24 pm   /  Reply


    What is the cable maker you hired for the xlr cables you have?

    • Dean Miles
      April 12, 2014, 10:41 am   /  Reply

      I go to Lorne Laphams Sales in Burnaby, BC. They’ve been making cables for Scot and I for as long as I can remember.

  5. Conor Mullen
    October 10, 2014, 8:18 am   /  Reply

    Hey guys! Here’s a question regarding the C100 and the Sennheiser G2 Wireless Receiver – which may or may not permit a “if ain’t broke, don’t fix it” type of answer.

    Do you suppose there would be anything wrong with mounting a receiver “backwards” in the C100’s hot shoe? Pointing the receiver’s antenna back towards the cameraman and running the XLR cable between the C100’s handle and lens to the TRS connector’s input. My thinking is that this set up would keep things away from the mic and “unclutter” the camera’s “face” (by only a smidge though).


    • Dean Miles
      October 10, 2014, 8:26 pm   /  Reply

      Conor, mounting the G2 with the antenna away from the lens is a good idea. The G2’s antenna tends to droop down and can actually get in the way of the shorter prime lenses. The only issue I’ve had spinning the G2 around is the camera op will often grab the antenna when they pick up the camera by the handle – there is a chance damaging the G2’s antenna.

      Thanks for sharing a good tip!


  6. January 13, 2015, 10:39 pm   /  Reply

    When using an on camera mic (not the camera handle mic) on the C-100, do you use atten or limiter? If so how do you set it up. I am a one man band so I either use a Sony wireless lav or a Sennheiser shotgun. Was wondering how to set up internally in camera to avoid audio spikes like a persons changing volume from normal speech, laughing, etc.

    • Dean Miles
      January 17, 2015, 11:33 am   /  Reply

      Hi John, I’d use the limiter on the camera on both camera mic and wireless system all the time. This will prevent possible distortion when unexpected volume changes occur. What a location sound op uses to soften volume spikes is a compressor, you’ll only find them on field mixers.

      Regarding attenuation, I’d only switch the attenuation to “ON” in the camera when going into loud locations. The attenuator just turns down the incoming signal (usually -10dB). Some shotguns are louder then others and need an attenuator in all the time, so after you set up your camera mic make sure the camera’s input volume is hovering around 50%. If it’s really low use the attenuator to knock down the incoming signal so you can increase the camera’s input volume. Don’t put the attenuator on the wireless channel on the camera ever, you’re just creating poor gain structure and this can cause hiss. It’s all about proper calibration and keeping an eye on your audiometers.

  7. November 15, 2015, 1:32 am   /  Reply

    Dear Location Crew. I’ve just bought the Canon C100 MK 2 but I’m not familiar with XLR Mics and I wondered what the settings should be for sound on the top handle. I have Mic . Line or Mic + 48. I have put the ext/int to Ext but not sure if the switches should be on . Line or Mic or Mic +48. I have a Rode NTG 2 Mic . Thanks in advance

    • Dean Miles
      November 15, 2015, 10:36 pm   /  Reply

      Hi David, You want to set the input on the camera to “MIC +48V”. You then won’t need to put a AA battery in the mic itself, the 48V will power you mic and work properly.

      David you might want to check out our online course “Camera Audio Simplified” it will teach you how to improve your sound immensely. There is a lot to get right to record usable sound when shooting. If done properly, your NTG2 will yield good results.

  8. Will
    February 6, 2016, 10:56 pm   /  Reply

    Great article — using the C100 with the ME 64, do you still need to purchase a powering module like the K6? I know phantom power is provided with the C100 but I’m still unsure about this.


    • Dean Miles
      February 9, 2016, 1:48 pm   /  Reply

      No Will, you don’t need the K6, you need the K6P. The ME 64 is just a mic capsule and you need the K6P to connect your XLR cable. The K6P does not have a slot for a AA battery. With the K6P module you’ll be powering your mic with 48V phantom from the C100.

  9. May 6, 2016, 11:09 am   /  Reply

    Why not get the k66 vs the k66p? it handles phantom power as well as gives a battery option. Is there a difference in sound quality or is the k66p just more compact and therefore better if you will always have phantom power?

    Was looking at an option of eliminating the c100 handle and getting a xlr to 3.5 adapter to make things compact. Does that make any sense?

    • Scot McDonald
      July 20, 2016, 11:11 am   /  Reply

      Hi Ian, Sorry for taking so long to respond. We had Word press issues and we weren’t getting any mail through. If you haven’t already solved your issue, here are my thoughts.

      I like the K66p because it’s smaller. That’s the only reason. Regarding getting rid of the handle on the C100, Scot hates it as well but it’s what we have to do for usable ambience recordings. If you’ve figured something out please share.


  10. Bob
    July 15, 2016, 7:15 am   /  Reply

    Very good information, thanks. I am interested in knowing what mounting rig that holds the ME64 in the C100’s shot gun mic holder.

    • Scot McDonald
      July 20, 2016, 11:25 am   /  Reply

      Hi Bob, It’s a K-tek microphone shock-mount with a spud on the end to insert into the camera’s built in microphone holder.


  11. Clay
    August 10, 2016, 11:36 am   /  Reply

    Just curious where you found the spud to fit the shock mount and the existing camera mic holder? Any info would be appreciated. Looking to put this on a C100. Nice video…great stuff. Thanks!!

    • Dean Miles
      August 31, 2016, 6:14 pm   /  Reply

      I went to my favourite video retailer here in Vancouver – Lorne Laphams. Not sure if K-tek still makes them. I purchased it over 10 years ago.

  12. August 31, 2016, 9:36 pm   /  Reply

    I use the existing mic holder and rubber band from a head of broccoli. Very cost effective and the broccoli is high in vitamin K.

  13. Jerome
    October 29, 2016, 12:34 am   /  Reply

    I just bought a m64 to go with my C100 (mark I)
    The sound of this micro is great, but the problem is that it picks up all the noise of the fan of the camera when it’s attached to the mic holder..
    How do you manage this problem ? Will it change something if I buy a windshield ?
    If you have any advice, I would be greatful.

    • Dean Miles
      October 30, 2016, 10:21 am   /  Reply

      Hi Jerome, a windjammer won’t stop fan noise. I’m surprised you’re having this issue, Scot and I never had this problem! We shoot doc style and unlocked-down locations often have ambience.

      For a noisy camera fan, my first thought would be to check the fan to see if this is normal operating. If it is, then I’d look at blimping it in some way (deflect or muffle the fan sound with out creating overheating).

      I got nothing to draw upon where I’ve had this issue on a real shoot. Most camera’s with noisy fans automatically turn the fan off when you start recording.


      • Jerome
        October 30, 2016, 12:05 pm   /  Reply

        Thanks Dean for your answer.
        But what is your C100’s fan position ? “on” or auto” ?

  14. Laura
    November 22, 2016, 10:39 am   /  Reply

    what would you recommend for a good run and gun audio input mic level with the ME64? And do you use mic trimming?

    Thanks and cheers,

    • Dean Miles
      November 29, 2016, 8:32 am   /  Reply

      H Laura, for a run and gun mic set up, I’ll always set the auto or AGC “ON” and let the camera control the mic input. Not sure what you mean by the mic trimming but if you are talking about the low-cut filter on the ME64 put it “IN or ON”.

      I hope this helps,

  15. Chris
    March 6, 2017, 6:10 pm   /  Reply

    What tripod and head is in your second photo?

    • Scot McDonald
      March 7, 2017, 7:04 am   /  Reply

      Hi Chris,
      That’s a Manfrotto 504HD Fluid Head with a Gitzo GT353 Carbon Fiber tripod.

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