Hi. This may sound stupid. . .REALLY stupid. On the other hand, maybe it's correct; I don't know. Anyway, the director for a movie I'm currently shooting has told me with absolute certainty that the Canon XL1s's onboard mic (the one it comes with) has a capability (try to follow me here) where it points ITS focus whereever the camera is critically focused (i.e. whereever you critically focus, the mic knows that is where the subject is, and somehow orients itself to pick up from that particular area of space, regardless of how far the camera is from the subject, room acoustics, etc.). Is this true? She claims it's one of the 27 new features on the XL1s, but I have found nothing about this on any site or in any literature on the camera. Help!

sounds like bs to me...

Your movie director may be taking non-prescription medication. The XL1/XL1s standard mic is a stereo unit with a fairly wide field. It's pretty good at what it does, but it is most certainly not capable of doing what she suggested.

Thank God. . .I wondered where she got that. I guess it doesn't matter, since the camera and mic are aimed in the same direction, except that she's had me use it as a dialogue mic for quite a few scenes!

Considering that the Canon mike has a field of coverage over 2 Pi(remember Pi from geometry? 4 Pi is a full sphere...all 360 degrees of it) of course it picks up sound from wherever the camera is pointing...and everywhere its NOT pointing too....;o)

Ouch. . .math. . .where do you (anyone out there) suppose she got that notion? I asked her if she was sure about it, and she said, "I own two of the cameras; I know how they work." If the mic is too far away from the subject, won't you get a nasty echo at some point, especially with an omnidirectional shotgun mic?

"Non-prescription medication." ;->

Actually, if she thinks that the mic is producing such an effect and it enhances her enjoyment of the camera, why try to destroy her delusion? She's having a good time and not hurting anyone ;-).

Ouch. . .that's awfully demeaning.

All in light jest; certainly not intended to be demeaning to anyone.

But, as you may be experiencing, it sure can sometimes be exasperating to encounter someone who is enthusiastically dead wrong. I was, however, in earnest in suggesting that you not go tooth-to-tong with her on this topic; she is, after all, the director of your project. If the time comes where the matter becomes critical to your project it will be simple enough to demonstrate the mic's performance in comparison to, say, a very narrow shotgun.

Actually, good sir, she is the director of HER project, and all mistakes thereof will be blamed on her.

True,

but as the camera operator it's up to you to be professional and put your best into the project. If you think that the audio quality is being compromised by the mic then you must speak your mind.

Reputations are one the line, hers and yours.

Good point my friend.

If your director is one of worth she will listen to your ideas and take them on board.

The job of a director is like the manager of a company. They need to have an idea about all aspects of the job at hand but also need to be able to take advice from the specialists they employ. The days of the anal retentive director spitting the dummy and sprouting lines like 'It's my way or the hi-way' are long gone. I'm sure it still happens, but the best director is the one who makes the most of the people and resourses he has on hand.

Once again, you make a good point. However, I am just starting out in the "biz." This is the first real gig I've had (of course, nonpaid, as I'm sure many of them will be) and I'd rather not argue with her, as she's giving me an opportunity, as well as resume material.

I am definitely not a specialist, either. I know my camera, but definitely not everything it's capable of.

Did your Director drop this little pearl of wisdom on, say the 1st of April?
These folks have pretty much debunked that rumor, but forgot to mention that the standard mic will sometimes pick up the little odd noises coming from the camera. I rarely use the audio on the camera, except for synching reference. However, if you were to mount a different mic on the accessory shoe, you can avoid those noises.

(Sigh) Yes the mic was camera mounted, and therefore, I'm guessing there are some zoom servo noises on some of the shots. It was never a problem before, because I usually never zoomed on camera. . .only used it reframe something.

WOW! if only our cameras could...

IF her budget allows, you might suggest that she rent a couple of wireless mics and receivers and run them through a MA100 or MA200 (or a Beach Tek) into your XL. It makes a huge difference and is well worth any rental costs when you go into post. Either that or rent a boom set up. It's been my limited experience (am just starting out too) that the on-board OEM mic is great for indoor/controlled environments but in the field it can drive you nuts with unwanted ambient/background noise.

Hey,

Everyone has to start out somewhere, and even the FNG can sometimes give the ole' salty dog a tip or two. I think if you tell her what you've researched she will be thankful for the tip.

I'd also suggest going for an off camera boom mounted mic into the MA100/200 or a DAT/MD, for the reasons Scooterbob gave.

all this advice assumes she's a rational human being. unfortunately, sometimes power makes some people a little ...ummmm...errr...difficult.

Yeah she has a sennheiser shotgun mic (I'm not sure which one it is) and we used that the last time we shot, but it might be too little too late, as we only have two more days of shooting before the project's done.