New thread for audioholics

[axelcine]

Whenever we talk about 600d, 650d... - all newer Canon cameras have built-in microphones, and I know from experience, that they work very well UNDER IDEAL CONDITIONS.But what are we to do, if the conditions are less than ideal? There's no jack-out for headset...

There are many threads dealing with HDR/RAW and the cam's ability to shoot H264 or even RAW and 4.2.2 compression. Hooray... And I mean it. It's a fantastic thrill to see the footage, we're able to create. My 700d is a gem. With ML onboard it's a wonderful little movie machine. And you lucky guys with 5dIII... are even better off.

BUT... More than several hundred complaints about the "missing audio-link" make me feel, that many ML users are not quite familiar with the concept, that audio is 80% of a movie. Why do they request headset monitoring of an audio input device (the built-in mikes), when we all know, that external audio recording is necessary almost all the time. Juicedlink, Saramonic, Zoom and many other manufacturers of audio equipment thrive on an increasing demand for better sound.

Just not the RAWoholics (and I mean this with lots of love, being a vidiot myself). They seemingly don't know where sound comes from.

OK - a large number of beautiful footage is uploaded to ML with equally beautiful music. But for a true movie nerd like myself, real on-the-scene audio is just as important as beautiful images.

That's why I propose to start this new thread: Tell us about your audio problems and how you solved them. I think, that  Walter Schultz has written a billion posts about the reasons for not developing ML/audio for the 600d and newer. Let's get all this discussion over here, so frustrated audio posts aren't spread all over the ML forums.

[Kharak]

Good idea!

I have a Røde Mic Pro with Mic PreAmps and that helps a lot in getting as a clean a sound as possible in the MLV files, when I am alone but its honestly shit when you compare it to a NTG-2 recorded externally.

To be honest, if you are alone on a shoot and you want sound also, you will have to work hard and grow a new pair of arms. Therefore, ask a friend or hire someone to Boom. Should go without saying that having one guy dedicated to record sound will be better than a mic placed on top of the camera. Or not?

Tried with Zoom on top for wide spectrum of sound 90' - 120' , but it just comes in so weak in a way and for Dialog its not good.

If anyone has a good solution, for good sound when shooting alone, I am all ears.

[axelcine]

@Kharak - I work alone most of the time, and I'd like a boom operator as much as you. But...

Røde is top of the line. It's a good workhorse on top of your cam, and there are lots and lots of shots, where the Røde makes a difference even sitting on the cam. But you're right - the sound may improve, if it is fed into a separate recorder. Tascam, Zoom, Olympus, Sony and many other companies have them. Mine is a $100 model from Sony. It is five years old but it works fine. 20 years ago I used MiniDisc - clever concept, but lack of backing. It was the first syncable recorder (audio tape stretches).

More and more companies have cardioids/supercardioids and even shotgun mikes with built-in recording - Shure VP83F or VMIC Recorder from Sanamonic come to mind. Then again I'd rather stick to the Røde and buy a cheap dictaphone recorder - after all their software usually lets you record 10-20Hz - 16Khz frequence in 16bit 48MHz quality. That's better than CD quality

I'm on a tight budget, so my rig is totally improvised. But I have made documentaries all over Europe with my primitive gear. And I work alone most of the time.

It takes more time; you must prepare everything in details, and much of the time you'll have to compromise.

A small, cheap recorder with a small lapel mike can work wonders, when you're far away from modern facilities. You'll have to do a lot of clean-up afterwards in whatever audio software you use. You must consider new ways to get sync. If your cam is more than 40-50 feet away from the sound source and the main microphone/recorder, the speed of sound alone can make syncing difficult. I use a small flash light - the mike hears the click, and the cam sees the light. Voila - sync!

I teach AV, so I prepared a few photos to give you an idea of how totally crazy I am. I can only say: These odd-looking rigs have worked for me in France, Sicily Sweden, my native country Denmark, and in January I'm going to Canada to get some good footage in the Rockies. If anything here can inspire others, I'll be very happy.