Bradley Smith

Yes, If you look it up online you will see that these mics both require 48V phantom power and almost certainly have XLR inputs. This is true of most condensor mics. So to use it at a minimum you will need some XLR cables and also a source of 48V phantom power which could be a mixer, and audio recorder or a prosumer level camera that has XLR inputs that are powered. Not all of these offer XLR inputs or phantom power so you'll need to be selective about what you use to record.

For the bike following shots, I would also recommend a GoPro or DLSR depending on what kind of shot you are looking for. If the slight fish-eye is OK, you have good lighting (sunny day), and can tolerate some movement, the GoPro will probably be the easiest and cheapest. I would personally mount it on a handheld stick so you can get really close ot the subjects. I took some ski footage recently with a GoPro on a handheld stick while skiing around my subjects, and it came out amazing, because I could grab really odd camera angles (i.e. right next to my boot, over the head, between my legs, behind me as well as transitions) as well as get really close to subjects I was skiing next to. Hold it upside down to provide some stability. It had some shake, but not as much as you might think. So my first approach would be to mount the go-pro on a stick mount (telescopic one from Amazon for $15 or so), get on a bike behind them and shoot some footage with one hand and see if that is good enough. Option B is to mount a DLSR, which has no fish eye and also better lens reach, onto another bike or car. Since this is too heavy to handle with one hand on a bike, you are probably going to need a car, truck or a two person bike. Also if you go with the longer lens, then you need to worry about steadying it - so we're into some kind of stabilizer. I'm thinking a DLSR mounted on a handheld steadycam or stabilizer held out the passenger window (or back of the truck) while someone else drives. Safety is a concern in both approaches as well, so select a location that is flat, smooth, slow and out of traffic. You can always speed up the final footage a bit in post if needed.

If you don't have a good tripod, buy a Manfrotto fluid head tripod. They are not cheap, but they work. Early on I tried one out and saw the dramatic improvement in my camera work, I bought a second one just about immediately. Worth every penny spent - I still have them both. Once you have a good tripod with a real fluid head - then I agree with the others - practice.

I've done some nice GoPro slow motion shots and they mix in well if you can get close enough to the subject and also get a shot that hides the GoPro's fish eye lens (i.e. avoid straight lines in the background and center the subject). The black edition will shoot 120 fps in 720p, which is good enough as long as its taken from a different angle as your main camera, and you take some care to match it in post. Also you do need good lighting - it is way too noisy at that frame rate in low lighting. As long as you understand the limitations of the GoPro when composing the shot, it can work.

I use a short (30") Konova for slider shots. I like it because it is short enough to mount on a single tripod with a smaller camera, and also small enough to throw over my shoulder. As long as you have an object in the near field (critical for slider shots) you will get the effect you want. Also narrow DOF shots look great on a slider if you can get enough light on your subject to really open up the aperture.