Announcing a new blog focused on one thing – helping you make better audio tracks for your DSLR videos.

It's called GoodAudioTracks.com.

Every blog post I've created on this site about audio gets a lot of traffic, lots of comments and questions. So, I've decided to create a new blog focused on the audio side of DSLR video.

With the help you'll find on goodaudiotracks.com, you'll be able to go from zero to functional.

Here's what that means:

• You will have a workable production plan for audio
• You will eliminate fatal mistakes in sound recording
• You will make the most of the sound you do get

The result will be good audio tracks.

Your tracks may not win awards but do enough of them and you may create a great audio track. If nothing else, your audio tracks won't get in the way of your project's success.

Please check out the new site, sign up for the free newsletter and let me know what you think.

GoPro has just announced the Hero 3 – a camera that will shoot 4K resolution for under $400.

Wow.

Here’s a link to one of the best reviews of this camera by none other than Vincent Laforet – the father of DSLR video. He nails it – GoPro cameras are game changers.

If you’re looking for a great inexpensive “B” camera, you’d be hard pressed to find a better way to go than the GoPro HERO3: Black.

Dan Chung at dslrnewshooter.com has good things to say about the newest Sony camcorder with a large DSLR sensor.

While the Sony NEX-EA50EH may not have the best model name, it does offer some surprising features at a remarkable price.

You get a power zoom lens, XLR microphone inputs, a shoulder rest and a sensor large enough to shoot decently shallow depth of field video all for around $4,500. The sensor is an APS-C sized – same as a Canon T3i – so the images should be great.

It takes lenses with a Sony E-mount. There’s a growing number of high quality lenses for this mount and good adapter that will allow you to use many older lenses. Right now there’s only one lens with power-zoom, the E PZ 18-200mm F3.5-6.3 OSS SELP18200. (What is it with these names?)

So, is this the camera for you?

Sony targets wedding videographers and documentary shooters in their promo video. They also show a music video shoot to show off the two high quality XLR inputs. Except the music video is a solo cellist and most of the shots are not from the camera with the mics plugged in. (I’m betting this came from the same guys who thought these product names were a good idea.)

I think there will be a market for this camera – it’s a lot less than the other two cameras in this Sony family and it should make beautiful video. That’s always a good combination.

Oh yeah, you can shoot clips longer than 12 minutes – that should be useful for lots of people.

Let me know what you think – leave a comment below.

Here’s a Sony promo video shot with the camcorder:

Présentation du Sony NEX-EA50 from Focus Numerique on Vimeo.

Preliminary Information from the Sony website:

The NEX-EA50EH is a professional NXCAM Camcorder with a large format Exmor™ APS-C HD CMOS sensor and interchangeable E-mount lens system providing exceptional creative freedom when shooting both Full HD movies and high-quality still photos. It is supplied with the newly developedSEL18200PZ18-200mm Power Zoom E-mount lens providingauto focus, continuous variable iris and Optical Steady Shot™ image stabilization with Active Mode, making it ideal for shooting moving images. Film-makerscan achieve a constant zoom speed and smooth slow zoom, both of which can bedifficult to accomplish with manual zoom lenses.



An innovative design with an extendible shoulder-pad allows you to switch between handheld and shoulder-mount operation as required, with no need for additional accessories.

This product comes with the full PrimeSupport package. That’s fast, hassle-free repairs, a helpline offering expert technical advice, and a free loan unit while yours is repaired. Plus the peace of mind that Sony is looking after your equipment – and your business.

The NEX-EA50EH is planned to be available from Sony Professional Solutions Specialists in October.

Full HD recording

Full 1920 x 1080 AVCHD 2.0 Recording with 60/50Hz selection (50p/25p/50i or 60p/30p/24p/60i) 
NOTE: * *60p/i means 59.94p/i. 30p and 24p mean 29.97p and 23.98p, respectively.

Large Format Sensor for creative expression

Large Format APS-C HD CMOS Sensor for high quality, creative moving images and shallow depth of field control. The large format Exmor APS HD CMOS sensor gives the user creative freedom when shooting Full HD movies and high-quality still photos.

Unique design for versatile shooting options

The unique design of the NEX-EA50EH further adds to the camcorder’s versatility. When the shoulder pad is extended, the camcorder can be balanced on the shoulder giving added stability for longer shooting times. Alternatively, when the shoulder pad is returned to its original position, the camcorder becomes compact enough to use in various handheld styles, allowing users to capture a wide variety of shots.

Interchangeable E-mount lens System
The NEX-EA50EH incorporates the Sony E-mount interchangeable lens system, which enables auto focus, auto exposure and stabilisation during shooting. With its short flange back distance, it is possible to attach both established A-mount lenses via the LA-EA2 lens mount adapter, and an unrivalled choice of other brands lenses using third-party adapters.

Newly developed powered zoom lens
The NEX-EA50EH camcorder comes with the newly developed Power Zoom E-mount lens E PZ 18-200mm F3.5-6.3 OSS SELP18200. It features auto focus, continuous variable iris and Optical Steady Shot image stabilisation with Active Mode, making it ideal for shooting moving images. It is electronically controlled by both the zoom rocker lever on the camcorder grip and top handle. Film-makers can achieve a constant zoom speed and smooth, slow zoom, both of which can be difficult to accomplish with manual zoom lenses. In addition, using fixed focal length lenses users can simulate a zoom effect using the smart digital zoom function, ensuring fast-paced shots are never missed.

Part of the professional NXCAM camcorder range

The NEX-EA50EH features a range of professional functions usually associated with NXCAM camcorders, such as 2-channel XLR audio, Linear PCM audio, time code, user bit and built-in GPS.

16.1 megapixel still image capture
By capturing 16.1 megapixel still pictures with RAW format support, the camcorder offers higher picture quality and rich post-processing capabilities. In addition, the NEX-EA50EH has a built-in mechanical shutter to eliminate shutter-induced blur during long exposures while capturing still pictures.

A variety of recording media options

Sony’s HXR-FMU128 flash memory unit can dock directly to the camcorder for recording an immediate backup. The camcorder is compatible with the new Mirroring Memory Stick (MS-PX64/32/16) which is the world’s first memory card featuring a “Mirroring” function. This enables the card to deliver high reliability and data security through a dual recording (mirroring) function. This new professional memory card will be available in 3 different capacities: 16GB; 32GB and 64GB.

Just found this on Kickstarter.com – The Kick is a great idea that will be extremely useful for DSLR video. It’s small, easy to carry and can be adjusted to match or enhance most any lighting setup.

It has buttons to adjust the color and other settings but it’s also controllable from an iOS device. You can have it match the color of a photo or video – even make it flicker to match a video of a fire. Amazing concept and great price.

The Kick kickstarter.com project closes on July 18, 2012 so get in on the action  now. You’ll save a bit on the cost and support the development of great tools for DSLR video all at the same time.

For some shooters the Canon EOS REBEL T4i – 650D is the holy grail – a Canon DSLR with full-time autofocus while shooting video.

Here are are a few questions to ask yourself before putting your hard earned cash down…

1. Are you willing to live with Canon’s new STM lenses?

To get the full time auto-focus you’ll need to use one of the two Canon STM lenses with a stepping motor built to keep the lens in focus. Right now you can choose from either the kit EF-S 18-135mm F3.5-5.6 IS STM and EF 40mm F2.8 STM.

All non-Canon lens will not auto-focus while shooting video. Some Canon lenses may auto-focus but make so much noise while doing so that it’s picked up by the shotgun mic on your camera. Or they may auto-focus but constantly shift focus while hunting for the focal object.

And, if you do go with the 18-135mm you’ll have to deal with the changing exposure as the f-stop slides from F3.5 to F5.6 as you zoom so no zooming during a shot.

Low light shots will be okay with the 40mm F2.8 if you need a medium wide angle lens for the shot.

I haven’t seen footage of any other lenses working with the auto-focus but I do know that Canon could not released a camera with this feature until they had lenses to support it.

2. Are you willing to deal with the touchscreen LCD?

I’ll confess I’m a Sony lover but many people hate Sony cameras because they use a touchscreen LCD for much of the interface. Every touch leaves a finger smear and soon you’re wiping the LCD down so you can check focus.

Of course, you’ll have an interesting time using the touchscreen if you also want to use any of the LCD loupe add-ons so you can see the LCD in bright sunlight.

3. Are you willing to deal with another drain on the battery?

I have a Canon 60-200mm L with an anti-vibration feature built into the lens. Turning that on cuts battery life on a Canon T3i enough that I had to add a battery adapter to hold two batteries, buy several more batteries and another charger.

I still manage to make it through a day of normal shooting by swapping batteries, loading up the chargers and keeping an eye on the battery level. It’s not a big deal but it’s one more thing that has to be kept track of and dealt with during a shoot.

If I’m shooting from a stable tripod I keep that lens feature turned off.

I have a feeling that full time auto-focus will produce at least as much drain on the batteries as the anti-vibration feature, maybe more depending on how much focus shift is going on.

4. Are you willing to have your camera decide to shift focus when it decides?

This is the biggest deal-breaker for me. I don’t want my camera deciding to change white balance, exposure or focus anytime except when I decide to make the change.

Almost all video camcorders come with full time autofocus. And virtually every pro shooter I know immediately turns it off and locks it down.

Even if you’re shooting run-n-gun news you don’t want the camera to suddenly decide to pull focus when you shift the shot a bit to one side or the other.

I’ve worked many shoots with camera ops on “c” cameras that were not highly experienced. I always stop by each camera, make sure the autofocus is turned off and instruct them to leave it off no matter what.

Maybe I’m biased but there are hardly any circumstances I can think of where the benefits of autofocus over-ride the problems.

Okay, so what about the rest of the camera?

The rest of it looks pretty great – solid sensor, manual audio control, stereo mic in, and great processor.

I’m just not sure it will shoot video that looks any different than a T3i or even a T2i. And, for the extra cost, I’d be happier with either of those cameras and another lens (or two).

Sorry to be down on Canon for their hot new camera but that’s the way it looks to me.

What do you think – is this the camera for you? Leave a comment and let me know…

Like most people, when I was learning how to shoot video with a DSLR camera I was focused on the visual elements of the production.

I  already knew that audio is at least as important as video in great productions. Besides, I was in love with the amazing film-like images from such an affordable camera.

I soon discovered that DSLR video has special audio recording issues.

Having over 30 years of production experience gave me a good start in dealing with those issues but taking projects through the entire workflow successfully and efficiently was a struggle.

I get enough questions about the audio side of DSLR video that I know I’m not alone in my quest to improve the audio of my DSLR video productions.

I decided to ask for your help in finding out what you want and need to know. Click through for a short survey.

Please take a few minutes and answer these questions. I promise to get back to you with answers for any issues you have. And remember, there are no dumb questions. Even after 30 years in this business I’m still learning new tricks all the time.

If you have more questions please get in touch. I promise to never share your information and I’ll do my best to help you move forward.

Thank you!

-a-

A new kickstarter.com project for a Digital Bolex camera is trending fast (almost 3x their $100 minimum in a couple of days! In fact, their initial product run on 100 cameras is sold out.

The question is…

Can a camera promising 2K film-look video for $3,000 be the answer to your dreams or is it too good to be true?

Right now there’s no easy way to know. And, as their initial run is sold out you’ll have to wait until they release more to the market to get your hands on one. The initial footage doesn’t make me excited but it is a prototype and the footage wasn’t shot by a top shooter.

So, I wondered, what do the experts have to say about this?

Here are links to Philip Bloom and Stu Maschwitz – both top shooters who know their way around professional cameras. Interestingly, both of these guys stand on opposite sides of the issue.

Philip has put his money where his mouth is - http://philipbloom.net/2012/03/13/digitalbolex/

Stu has some tough questions and lots of skepticism - http://prolost.com/blog/2012/3/13/digital-bolex.html

I tend to go more with Stu – there’s a lot more to getting a working product out the door than having a good idea and money.  And I celebrate Digital Bolex’s entrepreneuring spirit – here’s to their continued success!

Here’s a link to an update from Stu – he talked at length with the camera makers and still has reservations. He knows about waiting on promised high end cameras and the real world.

http://prolost.com/blog/2012/3/15/the-passion-of-the-bolex.html

What do you think? Are you interested in a camera like this?

How would it change your production workflow?

Canon has announced the Canon EOS 5D Mark III DSLR camera with enhanced video recording features. At a suggested retail price of $3,499 USD for the camera body you need to ask yourself, “Is this the right camera for me?”

Here’s how to know for sure!

Do you already shoot video with a Canon 5D Mark II?

If so you have a kit full of lenses and accessories that will work perfectly with the new Mark III. And you’ll be pleased with the improvements for video capture like having a headphone jack so you can monitor audio. You’re sure to love being able to shoot clips longer than 12 minutes as the Mark III will automatically create a new 4GB file when you fill up the one you’re shooting.

It will only do this for three 4GB segments but that means you’ll get up to 30 minutes of video in one continuous clip. In some circumstances this can make the difference between choosing a DSLR or a regular video camera.

Add in the ability to handle time code, shoot 60fps in 720p video, and a few other video goodies and the Canon 5D Mark III will prove to be a worthy investment for a Mark II shooter.

Do you mainly shoot stills with some video every now and then?

This camera promises to create extraordinary still images under a wide range of situations. The Mark II is the camera of choice for many professionals and the Mark III is the logical replacement for shooters needing top of the line performance. The extra 2 stops of low light capability alone may make the camera a good decision, especially if you shoot time lapse at night.

When you need to shoot video you’ll find the Mark III will create superior results. You’ll need to look at your post-production work flow as video editing takes a different hardware and software tool set than photo work. But that will be true no matter which DSLR you shoot with. For a still photographer looking to add video to their services this camera will be more than up to the task.

Do you love the look of a full sensor camera for video?

The difference in how video looks from a DSLR compared to a normal video camcorder is stunning. And, for some people, video shot on a full sensor camera is the look they want. Compared to a crop sensor camera like the Canon T3i or 7D, the full sensor in the Canon 5D Mark III will offer a more shallow DOF using the same lens, light and f-stop settings. Lenses will have a wider field of view on the full sensor as well.

If you’ve worked with both full and crop sensor cameras and know you want the look of a full sensor for your video the Mark III is likely a good choice for you.

Is this the perfect DSLR video camera?

Far from it. It’s an improvement over previous Canon DSLR’s but it holds to their design philosophy of making great still cameras that will also shoot video.

If you need XLR mic inputs with live metering and level adjustments, if you need time-code in and out, if you need to feed a video monitor system or a field video recorder, or if you need to shoot longer than 30 minutes in a continuous clip then this is not the camera for you.

To quote Vincent Laforet, the guy who used a Canon 5D Mark II to shoot “Reverie”  - the 1080 DSLR video that was viewed more than 2 million times in the first week of its release:

I myself would go for the Canon C300 given my penchant for video over stills at this point in my career…

The C300 is designed for professional video and film production and there’s no better way to see what Vincent means than watching Mobius, the movie he shot with the C300 to introduce the camera to the world.

Mobius – 1080p HQ from Vincent Laforet on Vimeo.

It’s not a “one size fits all” world.

For some people the Canon EOS 5D Mark III will be the perfect camera and will inspire them to create new and incredible work. Others may find better results in another tool. Hopefully this post will help you know which camp you belong in.

One thing is for sure – this camera and the newest offerings from Nikon mean I’ll be revising the DSLR Video Buyer’s Guide!

 -a-

I cover Cameras, Lenses, Camera Support, Audio, Lights and the Rest of the Kit. You’ll find solid, usable information about what I’ve found that works during the 30 years or so I’ve been a video producer.

You’ll find recommendations for Beginner, Intermediate and Advanced shooters. Plus I make specific comments for Photographers, Video shooters and Aspiring Film Makers for each category.

Now Available on Kindle!

Previous versions of the DSLR Video Buyer’s Guide have been available as a PDF only, purchased through ClickBank.com. I made a decision to move distribution to Amazon.com and you benefit in several ways:

• If you’re an Amazon Prime member you can download the entire DSLR Video Buyer’s Guide at no cost – zero, nada, for nothing! The Guide was accepted into Amazon’s new Kindle Owner’s Lending Library program and that means you can read the book at no cost on any Kindle reader.
• The price has been reduced to almost half of the PDF version so even if you decide to buy from Amazon you’ll save more than 50% of the previous price.
• You still get all the great information, all the links to the equipment online resources, and you can read it on most any computer with free readers.
• I give you a link in the book where you can subscribe to all future updates. And you can download a PDF copy at no cost when you subscribe.

A reader asked:

I am looking for a fair affordable lavalier for personal work before I start into commercial work. What is a sweet spot for good quality product for a good price? I am planning on buying the Zoom H2 and would just like your opinion and a few options from a Pro such as yourself. Thank. Samuel W.

My answer:

First, here’s a link to a post I wrote about a low cost audio kit for DSLR video – Complete DSLR Audio Kit for Less Than $450?

As I mention in the post, the price kicks up a lot if you need to go wireless.

Instead of $50 for the ATR-35s you’ll spend at least $150 for a VHF wireless. But VHF wireless units have very low usable range, pick up lots of static and can be pretty noisy (lots of hiss). A decent UHF wireless starts around $400. Professional systems start around $800 and go up. That’s why I recommend going straight to a small recorder with a lav if you want the best sound for the lowest budget.

Also, the ATR-35s seems to be discontinued. It’s been replaced by the Audio Technica ATR-3350 Omnidirectional Lavalier. The price is about the same and, though I haven’t tested it to make sure, it seems to be as good as the previous version. This is a wired omnidirectional mic that will plug directly into a DSLR or a Zoom recorder.

For a wired cardioid option at about the same price I recommend the Audio Technica Pro Series Cardioid Condenser Lavalier. The output is an XLR connector so you’ll need an XLR to mini adapter if you want to plug it into a DSLR or a Zoom recorder.

Whatever you go with I suggest having both omnidirectional and cardioid lavalier microphones.

Omnidirectional are the standard mic in almost all lav systems and they’re great for when you want to pick up everything around – like the bride, groom and minister at a wedding from one mic. But they are deadly in noisy environments when all you want is to pick up a single voice. That’s when you’ll want a cardioid or even a hyper-cardioid lav to cut the background sound.

Cardioids and hyper-cardioids are more difficult to use because you have to have them pointed at the sound source where an omni will work no matter which way it’s pointing. But it’s worth it to get the sound right on the recording.

I’m working on a real world test of omni and cardioid lavs and will post it soon.

-a-