![]() ![]() Overall, you’ll find the user interface and features very accommodating to recording and manipulating audio, rather than it being a small blip within your camera’s LCD. From compressed MP3 to uncompressed WAV, with a selection of different data rates. But on field mixers, like switching between a variety of codecs, you’ll be able to switch to a variety of different formats. Or, perhaps on more advanced cameras, you can change from 16-bit to 24-bit. Multiple Format OptionsĬameras will typically only have one audio recording option. The more you overexpose, the less leeway you have in recovering the highlights. Again, compare this notion to the action of properly exposing your images. But, that’s not the same as pre-emptively lowering the gain when you know something loud is about to happen, as performing this action allows you to further manipulate the audio in post-production. ![]() Think of when your highlights are too bright to recover that data. This is when it gets too loud to audibly hear the sound. Some cameras may have a clipping feature that stops the sound from clipping. This will either be a scroll wheel or a conventional knob, but this is pivotal for adjusting the gain when something loud is happening. Excellent Monitoring and Adjustingįor the most part, field recorders will have knobs that allow you to adjust the gain while recording. You’ll also be able to monitor and adjust each input individually, and at the same time. If you’ve jumped from shooting content at home to a corporate shoot where three people are speaking, and you need three inputs, you have that available to you with a field mixer (depending on the model). The first thing you’re going to notice is the abundance of inputs you have available. Newer and pricier cameras may have the option of turning on a low pass filter and have decent preamps, but perhaps not as good preamps as that in a dedicated audio recorder.įeeding a Microphone into a Field Mixer Feed the microphone into a field mixer. The audio might not be balanced, may not support phantom power (this is where your microphone needs external power). Less Audio ToolsĪdditionally, a lot of the time lower-priced cameras will only have the core fundamentals of audio features. Having to jump through several menus to adjust the audio would be like having to go through four pages of operations just to change the shutter speed. It’s even worse when using something like the 5D. C300 Mark III audio set up.Įven on lower-budget cameras that still have excellent sound, say the Blackmagic Pocket 4K, while it handles audio great, you have to physically enter the menu to adjust the audio parameters. You’d either have to resort to the automated function or gauge the median Db of the scene. Even on a camera as grand as the C300 Mk III, it’s not practical to adjust levels on-the-fly. Simply put, tools built for video are 90% of the time not designed to monitor and adjust audio live. One component that’s usually a huge detriment in recording straight to the camera is the audio monitoring and setup. You’ll also have to coordinate with another person. However, if you intend on having someone operate the boom mic and you end up in a tethered situation, you’ll not only have those sprawling cables about. But, it’s important to note that upon attaching the mic to the camera (as it’s most-likely going to be a shotgun microphone), you’re now primarily only going to be recording audio in the direction of the camera. By feeding a mic directly into the camera and placing the mic on the camera, you can swap out the line of trailing XLRS for a short cable and keep the shoot stress-free. There’s nothing worse than having a trail of cables when you’re creating content. On the topic of inputs, let’s talk about cables. Removing the task of syncing audio and video files. ![]() However, you’ll find that when cameras break the $5,000 margin, there will be more XLR inputs. However, that sound file is only ever likely to be the one audio track as most consumer cameras will only have one mic input port. Having reliable sound and video pulled from a single memory card is incredibly convenient. The first benefit of recording your sound straight into your camera is that it removes the tedious task of syncing separate audio and video files, especially if it’s for something like a home video or tutorial where you shouldn’t really need separate video and audio. A professional cinema camera like the C300 Mark III would be at the top end of having onboard audio tools, whereas something like the 5D Mark IV DSRL would be at the very bottom. And, while it’s better now, there are still some detriments to using onboard audio. Feeding the Microphone Straight into the Cameraįor consumer cameras, onboard audio wasn’t at all that great at the start of the 2010s. ![]()
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