![]() ![]() Most cameras don’t offer all the features needed to ensure that you can get good quality sound for your production. In some cases, there simply is no alternative to professional quality production sound. You might be able to ADR (additional audio recording) all the dialog of your short film in post, but it’s not likely that the bride and groom are going to want to re-record their wedding vows after you’ve done the shoot for them. On some projects, you can mask problems with your picture in post-production with alterations in color and contrast, making them look like stylistic choices however, you usually can’t do that with audio. If you know you will be working with HDR footage, look for a monitor that supports HDR previewing. These will often also provide handy shot assist tools like focus peaking and LUT preview in addition to their larger, more production friendly viewing area. There are many monitor/recorders with 5-inch to 7-inch screens in HD resolutions some are even bright enough to see in sunlight. Onboard camera monitors are typically small, low res and not very bright. Though external video recorders do not always include a built-in monitor, this feature can add a ton of value to your purchase. RAW recording is another reason to invest in an external recorder since this will give you maximum flexibility in terms of color grading and image correction - RAW recording pulls image data directly from the camera’s sensor, bypassing any image processing or compression. Many recorders support 4:2:0 color via HDMI and 4:4:4 color via SDI. 4:2:2 subsampling has four times as much color information as 4:2:0 color and gives you color that looks almost exactly like full bandwidth color (4:4:4). many cameras only record in 4:2:0 chroma subsampling, which can lead to some images having color that looks a little off or that is difficult to correct and grade in post-production. If your workflow demands a particular format, make sure it’s available on any recorder you consider.Īlong with additional recording formats, many external video recorders also offer enhanced color capture. Recorders often support these formats while many cameras don’t. Recording format and colorĪt times, because of a client’s needs or to streamline your own post-production workflow, you may need to record in a specific format like ProRes 422 or DNxHR HQx to work more easily with editing software like FCP or Media Composer. An external recorder can often open up a lot of options in terms of format and record time, letting you record in higher-quality formats - like ProRes, DNxHR, CinemaDNG and RAW - for longer periods of time. The internal recording capabilities of your camera are often limited by recording media and processing power. ![]() Just like cameras, there is no single recorder that’s perfect for every production however, you can enhance your camera’s capabilities with a recorder that fills in the gaps. The DR-40X features both an integrated speaker and 3.5mm headphone out and can be powered via battery, AC or USB. This difference will be more noticeable in less-than-ideal recording conditions. The DR-40X does have built-in mic preamps that can provide your mic with phantom power, but their noise floor can’t compete with the more expensive Kashmir preamps from Sound Devices. Plus, dual recording mode captures a safety track as further insurance against peaking and distortion. It features a built-in limiter and switchable low-cut filter. The DR-40X records to SD card in either WAV/BWF or MP3 file formats. This allows you to mix the four tracks together in post to get just the right amount of background sound. With the Tascam DR-40X, you can record two mics via XLR while simultaneously capturing the audio from the recorder’s two adjustable onboard condenser mics to two additional tracks. The H6 is also capable of 6-channel recording at up to 24-bit/96 kHz resolution. It can accommodate condenser microphones, +4dB balanced line-level sources as well as signals from unbalanced instruments. The H6 is equipped with four XLR-1/4″ combo inputs, as well as a 3.5mm stereo mini-jack input. The MSH-6 capsule records in a mid-side configuration, and its front-facing directional element makes it great for sound design, broadcasting and stereo-to-mono compatibility. The XYH-6 capsule provides phase accurate capture in two different X/Y positions-90 degrees for a tight stereo image or 120 degrees for a wider perspective. The two interchangeable stereo microphone capsules make recording everything from speech to concerts to environmental sounds easy. This user-friendly recorder also has two swappable stereo microphone capsules and six mic/line inputs. The Zoom H6 Handy Handheld Recorder allows six simultaneous input signals to be recorded at once. ![]()
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