Granted that a boom mic placed overhead will produce the best audio in the Matt Granger video. But the frequency response of the rode videomic pro (when placed at a long distance) sounded very 'thin' compared to the rode stereo mic. So thin, in fact, I personally find the stereo mic's speech more natural and coherent from the same distance despite the ambient noise.
I'm beginning to fall in love with stereo mapping from X/Y capsules after they saved the day on a particular challenging assignment involving 20 over low-talking senior citizens interacting across a large stage with no house audio, no lavs, no stage mics.
I used three onboard balanced shotgun mics stage left, right, centre and dangled 6 Zoom H2n recorders from the ceiling above the stage. Of the 15 simultaneous tracks of audio recorded, only three did not make it to the final mix - all the 3 shotguns! Funny thing was, some of the shotgun mics were even nearer to the source than the H2 recorders yet the cheap X/Y capsules on the Zooms reproduced much cleaner, natural sounding speech. More importantly they did not suffer as much "hypercardiod tail" which picked up a lot of audience noise.
I'm not advocating sticking zoom H1/2 into DSLRs/camcorders, but I think proper balanced stereo mics like the AT8022 is definitely a very overlooked class of tools that perhaps deserve more to be the default on-board mic than the traditional shotgun. Would have loved to hear what an on-board stereo mic could have recorded that night but ironically, none of the cameraman could have monitored the actual audio that made the final cut!
