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Shotgun Mic with a Built-In Flash Recorder: the Shure VP83F

Audio technology is a pretty stable industry, but manufacturers are continuing to experiment with new features to help sweeten the deal. This time, it’s an interesting approach from Shure: a shotgun mic with its own internal recording capabilities called the VP83F. Hit the jump for the details:

  • Supercardoid
  • Three position gain switch
  • Low-Cut Filter
  • Records 24bit / 48kHz WAV to Micro SD cards
  • Playback control
  • Built-in Rycote shock mount
  • RF immunity
  • Headphone monitoring
  • Pricing TBD


Targeted for DSLR filmmakers, this mic might prove useful for specific applications where you need a stand-alone recording system. I’m not sure this coupling will catch on, but it’s always cool to see companies trying new things. Pricing has yet to be determined, but I expect it will fall in line to compete with other on-camera shotguns like the Sennheiser MKE400 at around $200-$300. There’s also a version of the mic without the internal recorder.

What do you think? What kind of situations would this be useful in?

Link: Shure VP83 Series — B&H


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Description image 25 COMMENTS

  • Looks pretty plasticky and awkward to me. Kudos to them for trying, but no way I’d ever buy one.

  • Antony Alvarez on 04.22.13 @ 9:45PM

    Looks to me like it’s definitely going to be Shure VP83f > Rode Video Mic Pro

  • This is interesting. Because it records, you know you have a backup of your work. It has a headphone jack, so you can monitor the signal. If you are a run-and-gun shooter with a non-headphone jack camera, this might be a hot item.

  • Bummer that it looks like this isn’t coming out until Jan of 2014.

  • The advantage of supercardioid and shotgun microphones is the great degree of control in positioning them, usually on a boom. I am no sound expert, but a shotgun fixed on-camera seems inflexible – unless your subject is dead centre and has no noise source behind him/her. I have a Rode video mic and often get great results for the minimal effort invested & it’s discreet. But for a serious project, I’d consider renting, because pro sound gear is comparatively cheap, especially renting good microphones. Or hire a professional, of course.
    I’d like to see more articles by working sound professionals. The articles here skew towards $10k+ cameras and $200-300 audio solutions. Let’s face it: the NFS readership is DP-centred (an observation, not criticism).

    • +1 to all of the above.

    • LOL that’s true, high end cameras very few people can buy and cheapo mics.

    • Rob Manning on 04.25.13 @ 4:40PM

      Off camera, a must (clicks and whirring) on a stand, above and pointed down, need two if there are two subjects standing say in a gallery art show, discussing the work, or a boom pole operator, check sound before rolling for position, all of what you said and more.

      These will sell to the dads who have the MK2′s, D7100′s, GHs etc. doing straight ahead takes.

      Otherwise a chance for Shure to rake Sennheiser and Rode over the coals on the low end for a cycle or two, hence the roll out at Winter NAMM where most of the Shure reps are also covering (much larger segment) broadcast and sound contracting but have realized that professional camera stores like Calumet and Samy’s were an undervalued sales target.

  • I can’t wait to see and hear how it works in filming situations to have an opinion about the product. Marketing videos can sometime be misleading. As far as pricing, it will be really hard for Shure to compete with establish companies who sell DSLR audio gear. Hopefully, their pricing is cheaper than the current Rode Mic’s since are more established for the DSLR filmmaker market. Shure is coming into the game pretty late with this product. Who knows what new audio gear we will have next year from other establish companies. I can only imagine better. Crazy to think this year we are getting 4k for 4k in terms of cinema cameras. I look forward to see what gear audio gear will come out next as we progress into the future of filmmaking.

  • I could see this thing being used as a backup audio with your boom/tie mic. The more backup the better I say. Plus, syncing in post would be easier with quality audio going into the camera in stead of onbody mic (being horrible in windy situations).

  • Rode announced something like this a long time ago but we haven’t seen it emerge, yet!

  • From my understanding mic’s plugged directly into a dslr won’t give you the best possible audio. So wouldn’t this be a better option?

  • I”m looking into investing in audio equipment, but i find myself a bit confused as to what devices are best for low budget production. Here is what i’m considering.

    A zoom h4n, a seperate mic to attach to a pole and xlr cable. Would i need anything else? Can you guys help me with this dilema, point to the right direction?

    • Just because the H4N is the most popular doesn’t mean it is the only option. I highly recommend the Roland R-26 which has a better pre-amp, less noise 6 useable channels and a much easier to operate menu system. I’m also using a RODE NTG-2 shotgun, a Falcon carbon fiber boompole. For narrative work it’s worked out great for me.

    • Also consider the new Tascam DR-60D — no reviews out yet (well, just one by juiced link, a rival manufacturer). In choosing a device, the quality of the pre-amps is the most important consideration. I’ve used the H4N — great value when it first came out but probably now superseded by newer models. I wouldn’t buy H4N now: the two AA batteries drained too quickly when using phantom power, and I’d like better sound now. I see the DR-60D has better battery power, and is nicely set up for both on-camera sound and as a separate recorder (dual system). Consider renting Sound Devices for important projects? I like 4-track recorders because I can get stereo ambience (room) sound in addition to the shotgun mic – then choose how much “ambience” you want when mixing. I also like to output straight into the camera when I don’t want to spend time syncing files — so separate headphone and output jacks are highly desired (to monitor while outputting to camera) – unless the camera has a headphone jack – mine doesn’t.
      That Roland R-26 looks interesting – never seen one.

  • Ben Maciejack on 04.23.13 @ 11:46AM

    Looking forward to seeing some demos. Shure makes some great equipment, I use them at our theatre a lot in the wireless arena.

  • I’d given up on Rode ever delivering their version, but for me the big plus of this is being able to leave it record, getting ambient/dialogue when I’m not shooting to card. I don’t know how many times I’ve needed just another few second of music/ a speach etc so that I can cover a cutaway. Fine when there’s time to set up the H4 (which I usually have two radio mics into. The Tascam is the next device on my wish list though.

  • Long time SHURE user here and I loved them as my favourite mic maker until these rode video mic pro and video mic HD plagerist knockoffs this just ain’t cool and I hope they reap some thief karma for being Borgs here, SHURE you guys are unoriginal hacks now.