![]() ![]() I once tried a stereo microphone and it didn’t worked out. I usually record my voice-over’s with a directional microphone because I don’t want to capture anything else than my voice. It is also possible to plug a lavalier with a cable into a DSLR but most of the time a lavalier is chosen for mobility reasons and not to draw attention to the mic or to strangle somebody with the wire. For that reason there are stereo mics that are also great to capture musical performances. ![]() But sometimes I want to capture not only the person’s voice but also the ambient sound at the same time. ![]() In general it makes sense to get the mic as close as possible to the person. This was the example with the airplane flying very close. It is possible to use such a mic in quite places but as soon as other loud noises come along it won’t work. The sequence we shot in the park was a good example that it is possible to use a mic like the VideoMic Pro (mono version) that is on top of the camera and two meters or more away. Most of the time I use a directional microphone especially for interviews and dialogue scenes. But such a mic isn’t always the right choice, as I said in the video. I lately used the RØDE Stereo VideoMic Pro a lot to capture ambient and surround sound. It is all about choosing the right mic for each purpose. If you don’t want to use an external recorder there are still options to get good audio – but never as good as the audio captured with a dedicated device. Syncing audio and video is never fun but tools like PluralEyes can do that job for you but they also cost money… The downside is that you have to sync the sound from the recorder with the video track from the DSLR. It is also possible to plug in pretty much every microphone and most importantly: The noise is gone. This helps enormously and can save your recording if one track is overmodulated. Let’s say you record one track at 0 db than a second track, a back-up, can be recorded at -12db. It also can record one track at a lower level. It has two XLR inputs and can record up to four tracks. This is the reason why we decided to buy an external audio recorder, the Tascam DR-40 that can do pretty much everything the average independent filmmaker needs. To make it short – audio from DSLRs can be a nightmare. Besides that fact many DSLRs don’t have a headphone jack and you can’t change the audio levels while recording. Especially when shooting in a quite environment or in a studio this noise level is audible. The noise almost sounds like the noise from an old music tape but without the music. Why? Because of the constant noise level in the audio track that can be irritating when playing the video really loud. I have never heard of a professional actually recommending to record audio with a DSLR but to use an external audio recorder instead. I am very glad those times are over and I can decide if I want to record automatic or in manual mode. Just like the auto-exposure of a camcorder I didn’t know what the result would be. I remember the times when most DSLRs didn’t have manual audio levels there was no way of controlling the audio I was recording. Separately available AtomX Ethernet/NDI and SYNC Expansion Modules enable you to output live video over IP or add wireless timecode for multicamera shoots respectively.I decided to put together a little video that shows the benefits and downsides of using a DSLR and an external recorder to capture audio. The Ninja V can record to both AtomX SSDmini or standard 2.5" SSD drives, fitting up to 150 minutes of 4K video on a 1TB drive. An SSD Caddy, power supply, and dummy battery are included with the unit.ĭesigned with an interface that differs somewhat from prior units, the Ninja V's HDR functions are accessed through the MON buttons and its ProRes options are chosen via the arrows on the unit's upper left corner. ![]() Additional features include a variety of onscreen exposure analysis, framing, and focus assist tools, as well as anamorphic de-squeeze. The settings only affect viewing, with recorded video remaining unaltered.īuilt to withstand the rigors of production, the Ninja V features an aluminum chassis and powers from a single L-series battery. The monitor supports popular log formats from Sony, Canon, Panasonic, ARRI, RED, and JVC cameras. The AtomHDR display technology allows you to accurately monitor your log gamma footage without having to view flat, washed-out looking images or use a LUT to compress the dynamic range and color space. It features a 10-bit FRC IPS screen with a brightness of 1000cd/m², which makes it suitable for use in both exterior and interior conditions. The Atomos Ninja V 5" 4K HDMI Recording Monitor is a 5" on-camera monitor/recorder that records and plays back DCI 4K, UHD 4K, and HD video from purpose-built mini-SSDs. ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |