Dslr external recorder9/9/2023 ![]() ![]() ![]() While it can’t protect from noise of, say, a violent windstorm (I know, I’ve tried…), the on-camera microphone almost always ensures your feeds can sync quickly in post. The catch? All audio - especially the in-camera audio captured alongside the footage - needs to have distinguishable waveforms. It aggregates all your audio sources, then matches them up based on waveform in an exportable format for editing. I use the Plural Eyes audio syncing software to save time. If you’re using multiple sources of audio (zoom microphones, lavaliers, etc.) you’ll inevitably have to match it up in post. Syncing in post requires a quality, in-camera audio feed. That’s why I love the fact my Shure LensHopper requires no detachable cords, no SD cards - nothing! I just plug it into my camera and it’s good to go. I’ve developed some semblance of an organizational system, but it’s far from my forte. If I’m not checking space on my SD cards or trying to locate the right cords for different devices, I’m off in the corner somewhere plugging into an empty outlet. You don’t need extra SD cards or cords.Īs a filmmaker myself, I know the struggle with “parts” is real. (Although moving forward I’ll now have a third audio backup in case something else were to happen I’ll be placing the lavalier next to the speaker… you can never be too safe!) 3. Thankfully, my on-camera microphone saved the day. Case in point? At a recent wedding the best man spoke way louder than we’d anticipated - or soundchecked - so my zoom microphone’s audio was muffled and unusable. ![]() While the audio may not be as perfect as a line in to the soundboard, an external, on-camera microphone can usually do the trick. And, if it happens to be an external audio feed, you could fly through key moments without realizing it.īut, if you’re using an on-camera microphone you can breathe much easier. Murphy’s Law unfortunately translates to the world of videography- whether you’re filming weddings or news clips, documentaries or movies, something is bound to break down. An on-camera microphone is an essential safety net. The on-camera external microphones are designed with audio alone in mind - and the results clearly prove it. Your camera alone has limited space to record sound since the focus is image capturing. In tests between the quality of an external microphone and a high-quality camera’s built-in mic, the results are almost unbelievable. External microphones are better than your camera’s internal mic. ![]() Our footage looks outstanding (at least in our edit bays) and I could not be happier with the SSDmini.Photo by Jesus Loves Austin on Unsplash 6 Reasons You Need an External Microphone for Your Camera 1. The AtomX was tasked with writing 4Kp60 4:2:2 10-bit log footage in ProRes, and did so flawlessly. It worked beautifully on the Ninja V, with no hiccups or failures writing to the drive over the course of multiple shoots. In use, I never found myself worrying about the AtomX. I appreciate a little transparency, which is why I use Sony SD cards a lot as well they too publish read and write speeds directly on the cards so as to not unintentionally mislead a consumer about what they are buying. In the end, the difference in performance is probably minimal between the two, but I liked that at least Sony was more forthcoming on the product page than I was seeing on G-Tech's. Touching on those transfer speeds, in reading a product page on B&H G-Tech only promised 500MB/s read/transfer speeds with nothing specific about the write speeds, while the AtomX promised 500MB/s write speeds and 550 MB/s read speeds. If you've ever tried to grade footage in the latter and then attempt it again in the former, you'll know why it was such a big deal to me to have 10-bit footage: it's remarkably more flexible. My Panasonic Lumix GH5 is capable of writing 4:2:2 10-bit log in 4Kp24 to an SD card no problem, but my slow motion footage of 4Kp60 was limited to 4:2:0 8-bit. I wanted to have complete control of color and even have the option to send footage to a professional colorist. Very recently I started working on a passion documentary project and wanted to shoot everything in log. My clientele was the kind where we didn't have to always shoot in log, we generally could get our shots to look good in camera, and I was happy to shoot to SD or CFAST cards in 4:2:0 8-bit.īut times change, my personal thoughts on the quality of product I want to put out changed, and the limitations of my equipment eventually became glaring. This is going to sound crazy, but as a professional commercial videographer / filmmaker for the last five years in San Francisco, I only recently had to start using external recorders. ![]()
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