Options for recording audio with DSLR video? Where to send the signal?

[John Fishback]

Personally, I almost always use a preamp ahead of the camera. Some Beachteks have preamps as do the JuicedLink boxes. A good preamp will sound better and you won’t have level problems. Most folks send audio to both the DSLR and an external recorder. That way it’s a lot easier to sync the external audio to the video. You’ve mentioned the popular options, but checkout the new entries by those manufacturers. Sound Devices makes a number of mixers that include a recorder, but they’re a much pricier option.

John

MacPro 8-core 2.8GHz, 16 GB RAM, OS 10.8.4, QT10.1, Kona 3, Dual Cinema 23, ATI Radeon HD 5870, 24″ TV-Logic Monitor, ATTO ExpressSAS R380 RAID Adapter, PDE enclosure with 8-drive 6TB RAID 5
FCS 3 (FCP 7.0.3, Motion 4.0.3, Comp 3.5.3, DVDSP 4.2.2, Color 1.5.3)
FCP-X 10.0.9, Motion 5.0.7, Compressor 4.0.7

Pro Tools HD 10 w SYNC IO & 192 Digital I/O, Yamaha DM1000, Millennia Media HV-3C, Neumann U87, Schoeps Mk41 mics, Genelec DSP Monitors, Prima CDQ120 ISDN

[Richard Crowley]

Recording audio to a DSLR is limited to “scratch track” or “alignment reference”, IMHO. No DSLR I have ever heard of is suitable for quality audio recording, regardless of what kind of electronics you put ahead of it. YMMV.

As for external recorders, you generally get what you pay for. If you want to use a lower-end plastic hand-held recording gadget bristling with little microphones, at least they have real XLR inputs and halfway decent mic preamps.

Or if you have the resources to use something like Sound Devices, et.al. and decent mics and a talented boom person, you have it made.

Of course, it also depends on WHAT you are shooting and HOW. A talking head of the president delivering a speech in a conference room doesn’t have quite the same demands as live-action shots demonstrating the latest ski equipment on the slopes, etc.

[Ty Ford]

Hello Corbin, HNY and welcome to the Cow Audio Forum.

The Canon 5D Mk iii is capable of recording acceptable 48kHz 16-bit audio. I tried it with a friend’s camera last year and was OK with the results.

We were feeding the 5D from a TASCAM DR-60D line out and barely cracked the 5D input. When we did the result was noisier. So careful gain staging has to be observed.

What camera do you have?

BTW, here’s my review of the TASCAM DR-60D.

https://tyfordaudiovideo.blogspot.com/2013/10/tascam-dr-60d-four-track-digital.html

Regards,

Ty Ford
Cow Audio Forum Leader

Want better production audio?: Ty Ford’s Audio Bootcamp Field Guide
Ty Ford Blog: Ty Ford’s Blog

[Bill Bruner]

Hi Corbin – I recommend you get a $200 Tascam DR-40 (or a $350 DR-60
if you like the form factor better), record your primary track to the Tascam, link the recorder’s output jack to your camera’s input jack with a Sescom line attenuating cable – and record a backup track to your camera.

Hopefully, you camera has a headphone jack so you can monitor what’s going into the camera.

Here is my setup, with the DR-40, a used Audio Technica AT835b mic I picked up for $66 on eBay, a $30 Campro Deluxe shock mount, a $30 Kamerar 20 cm Hot Shoe Extension, a $40 Top Handle and the $27 Sescom LN2MIC-TASDR100 cable:

https://lh4.googleusercontent.com/-N2fhpkBqQyA/UlAwzPz9p8I/AAAAAAAAIKA/Cr572sFRSW8/w724-h543-no/P1120289.JPG

Yes, there are two switches to hit instead of one, but I always have a backup if I screw it up 🙂

Hope this is helpful and Happy New Year!

Bill
Hybrid Camera Revolution

[Corbin Gross]

Wow. That TASCAM DR DR-60D looks really cool. It seems to me that it’s better in every way than the Beachtek Beachtek DXA-SLR Pro.

That Sound Devices stuff looks pretty capable, but is well outside of my budget.

Corbin Gross | SANMAR
Photographer/Videographer | Marketing
22833 SE Black Nugget Road | Issaquah, WA 98029
206.727.5501 x5237
http://www.sanmar.com

[Ty Ford]

it eats batteries pretty quickly, but does a lot and that variable output level to feed the 5D is VERY useful.

Regards,

Ty Ford
Cow AUdio Forum Leader

Want better production audio?: Ty Ford’s Audio Bootcamp Field Guide
Ty Ford Blog: Ty Ford’s Blog

[Corbin Gross]

Yeah, the battery life is something to consider. The H4N seems to last forever.

If I go with the Tascam I’ll get the AC plug for sure. I’m actually not shooting on the move all that often.

Corbin Gross | SANMAR
Photographer/Videographer | Marketing
22833 SE Black Nugget Road | Issaquah, WA 98029
206.727.5501 x5237
http://www.sanmar.com

[Craig Alan]

[Ty Ford] “The Canon 5D Mk iii is capable of recording acceptable 48kHz 16-bit audio. I tried it with a friend’s camera last year and was OK with the results.

We were feeding the 5D from a TASCAM DR-60D line out and barely cracked the 5D input. When we did the result was noisier. So careful gain staging has to be observed.
“

We are just getting our feet wet with the 5D. I took it on our first photo shoot a couple days ago and it’s a great still cam. Next up movie mode. Had not considered using it for sound until your post just now.

What do you mean by “barely cracked the 5D input” My experience with most cameras is they like mike level inputs from mixers. Would the mike level input from a 302 do the trick and what level on the 5D starts to get noisy? As an alternative I was thinking of just using a Ki pro under the 5D as the audio video recorder. The 5D also has HDMI out at very good quality. The Ki Pro records good audio but has limited meters and poor headphone output.

Mac Pro, macbook pro, Imacs (i7); Camcorders: Panasonic AG-HPX170/AG-HPX250P, Canon HV30/40, Sony Z7U, VX2000, PD170; FCP 6 certified; write professionally for a variety of media; teach video production in L.A.

[Ty Ford]

Hi Craig,

“Barely Cracking” – adjusting the audio input on the 5D mk iii to one click up from the lowest possible setting. We fed that from the line output of the DR-60D and since that output is adjustable, we set our record levels by adjusting gain there.

I don’t know if a 302 (or any standard mixer) would work as well. They have more or less fixed output levels. Yes you can change them, but then I think you have changed the overall headroom of the mixer.

Worth trying if you have a 302 and 5D Mk ii to play with. The audio on the mk ii is not as good.

Regards,

Ty Ford
Cow Audio Forum Leader

Want better production audio?: Ty Ford’s Audio Bootcamp Field Guide
Ty Ford Blog: Ty Ford’s Blog

[Craig Alan]

Thanks Ty. We have the 5D mark III and 302 mixer. I did adjust the 302 on one shoot to mike level out with good results. I did this because we were using a cordless kit as a wireless connection and the wireless transmitter needed mike level in. Worked well and calibration held true. But I know from previous posts that you ride your gain higher than I do simply because I need more headroom working with students.

The DR-60 seems to be offering quite a bit for that price. Does it really have good preamps and a good recorder? Are you using the camera’s recorder only as a reference? I’ve read reviews of the DR-60 from raves to poor preamps and a plastic feel.

I was over at Trew audio in LA and they are a big sound devices dealer and repair shop. An audio tech there told me that the sound devices mixers are great for dialog but not really music mixers. He recommended that I start looking at using our mackie mixer with a lap top and software to capture music. Just what I need more computer apps to learn and relearn. Regardless, your thoughts appreciated.
Craig

Mac Pro, macbook pro, Imacs (i7); Camcorders: Panasonic AG-HPX170/AG-HPX250P, Canon HV30/40, Sony Z7U, VX2000, PD170; FCP 6 certified; write professionally for a variety of media; teach video production in L.A.