For those looking for a "crash course" in audio for video,  Audio Technica has posted the series of 13 educational video blogs that are all about location sound recording. Note that the original drafts were written by Fred Ginsburg, who also was present on the set as a Tech Advisor. This informative series of short videos can be accessed either via the Audio Technica site, or directly on YouTube at https://www.youtube.com/playlist?list=PLSY8LG6gVbQSXUWAM_P-uAYL9rpnrk2in
These are great videos for novices and students, featuring Charlie Waymire (as on-air talent). And totally FREE for schools to use!

The series are short (5 min or so) presentations explaining booming, lavaliers, handhelds. wireless, rigging talent, selecting mics, making windscreens, plant mics, and reflected lavs. Lots of useful tips!

If the link does not work, just Google YouTube Audio Technica.

Audio Technica answers their Blog Question of the Week, "What is a dynamic microphone?"

The most common type of dynamic microphone is moving-coil (see Figure 1), which operates on electromagnetic induction. Moving-coil microphones utilize a diaphragm that, when moved by changing sound pressure, also moves the voice coil, causing electrical current to flow. As the diaphragm moves, the attached magnetic voice coil creates a positive charge and when the diaphragm rebounds from the voice coil, a negative charge is created. This is translated into positive and negative electrical current.

Another way to think of a dynamic microphone is as the reverse of a speaker. A speaker takes in electrical current that moves the speaker cone (diaphragm) and its voice coil. This vibrating movement of the speaker cone results in acoustic sound pressure – aka sound. The concept is the same as that of a dynamic microphone, just in reverse.

Dynamic microphones are rugged, reliable, and are often used in live applications where sound reinforcement is needed. Proper care and maintenance will extend the life and performance of dynamic microphones. These mics do not require any additional power or batteries for operation. Output levels are properly matched to work directly with most microphone level inputs for good signal-to-noise ratio. They are capable of smooth, extended frequency response for accurate reproduction of vocals and instruments. The frequency characteristic can also be tailored to suit particular applications.
This is an excerpt from the Audio-Technica blog found at:
http://blog.audio-technica.com/audio-solutions-question-of-the-week-what-are-the-differences-between-the-microphones-that-audio-technica-offers/#more-2305

About the Mic Basics Series

This is a series of video demonstrations that Fred originally made with his audio class at CSUN. These were live, off the cuff, lectures and demo's that were taped by his students.

Cameras utilized include a single chip Sony TRV8 palmcorder equipped with a Sign Video XLR-PRO audio adapter box; and a prosumer 3-chip Panasonic AG-DVC30 with XLR inputs.

Most of the time, except as noted in Part 1, the mics were ran through a Mackie mixing board and then fed as a line output to the cameras. The mics utilized include: Audio Technica AT897 electret condenser ENG short shotgun; Audio Technica AT804 dynamic omni handheld; Audio Technica ATM-29HE dynamic cardioid handheld; Audio Technica AT4073a condenser short shotgun; Audio Technica AT4071a condenser long shotgun; and the Audio Techncia AT4051 condenser cardioid dialogue mic.

The topic for this article is mic powering, including Nagra "red dotting" and other basics pertaining to "phantom" powering of mics. If you are already intimately familiar with such terms as: T-powering; A-B powering; phantom powering; electret condenser; QPM 3-5; QPAU-T; and phasing cables -- then give yourself an A and skip on to another article in this website. But if any of this talk strikes you as resembling a call sheet from a sci-fi epic, then this primer is for you.