1DC Audio Best Practice?

[Trevor Dennis]

This feels like a very basic question, but even a general answer would be appreciated. I have just ordered a 1DC, and while I am happy about it's video capability, I am less sure about audio. I have shot B-Roll and low light with a 1DMK4, but mostly work with an XF300. Pretty much all my audio gear is XLR, but I have a Rode VideoMic tucked away somewhere. I'm guessing that some sort of pre-amp with XLR inputs, and a short run to the 1DC mini jack is the way to go, but some of the ones I've seen are suspiciously cheap.

Or do folk mostly use a remote sound recorder? I am reluctant to place a preamp between tripod and camera from a stability point of view, and I have a rail system. Bottom line is there are bound to be times when I need to use the 1DC audio.

Thanks

[Sabyasachi Patra]

In the 1DC you can use the microphones like Sennheiser MKE600 MKE 600 | B&H Photo Video

It can be battery powered, so it will work with your 1DC.

The best is when you are recording sound externally. The microphone has to be close to the source of sound, so recording sound through a boom or by placing a microphone close or wireless would be better options.

[Trevor Dennis]

Thanks for the quick reply. I do have a Sennheiser ME66/K6, but don't use it much, preferring my Rode NTG2. In fact I'm fairly sure I have an XLR to mini jack lead, so I could use the NTG2 on camera, but I'm not sure about using a long XLR lead into the mini-jack converter. I guess I could ask Ty and the gang in the All things Audio forum.

I just trying to get a heads up before the 1DC arrives.

Thanks again for your help.

[Jon Fairhurst]

Take a look at the juicedLink preamps. They're super clean, well-designed, and rugged. I've got the previous generation of models, so I can't comment on the specifics of Riggy line, but I expect that they have incremental improvements.

I've got the DT454, which allows me to run the VideoMic Pro in one channel and a phantom-powered XLR mic in the other for run-n-gun plus interviews, including headphone support. It has high gain with a clean signal, so you can turn the DSLR gain all the way down for the best available quality. It's nice to have physical gain knobs within reach so you don't need to mess with camera menus for audio.

[Sabyasachi Patra]

I too have the juicedLink DT454. I was using it more when I was shooting with the 1D Mark IV. As Jon mentions its preamps are good. The main problem I face is that I have to carry 9V batteries for that. Wish it had provision for rechargeable batteries.

The juicedlinks are pretty inexpensive. So if not a problem for rigging then it would work fine with the 1DC.

[Jon Fairhurst]

Good point about the batteries, Sabyasachi. I got in the habit of turning the preamp off immediately after each clip, which extends the life significantly. Phantom power is a big drain on all battery-powered preamps.

Also, it highlights the need for headphone monitoring. With it, you don't forget to turn the preamp back on before the next take. FWIW, power-on is near instantaneous with only a minor "bump", meaning there's no half-second of screaming noise in your headphones when you turn it on. :)

[Trevor Dennis]

I am feeling like I have been rude now. I typed out a reply to Jon's post about the Juiced Link, saying it was placed just about the right price point for me, but I obviously didn't hit the Submit button. :-(

I've never recorded audio properly with my 1D4, always using sound from the XF300, so I have no experience with DSLR audio. The JuicedLink headphone jack looks like 3mm, and I always worry about them snapping off, although it looks more accessible than the DSLR mini-jack socket. The last big project I did I picked up the XF300 and tripod and moved it to a new position, and discovered how easy it is to move _both_ audio level controls accidentally. To make things worse my head phones where around my neck instead of on my ears, and I was only just able to rescue the resulting hot audio levels. I have no excuse for the unused headphones, other than it being a very hot day.

Jon, I have read elsewhere your suggestion of keeping the camera levels low, and compensating with the pre amp. Is this because the JuicedLink is a cleaner preamp than the camera, or because it gives you more control? I'm wondering how this works? I can only see controls for the inputs, and a mic volume control. Are there other controls for the output? Can you adjust the little LED meter on the JuicedLink? Or is it preset so the red comes on at 0db, for instance?

OK, I have just found a downloadable manual, so I'll have a good read of that and stop asking you guys daft questions. Thanks for your help though. It is very much appreciated.

[Jon Fairhurst]

No rudeness perceived whatsoever. :)

Yes, the key to good DSLR video is to turn the gain to the minimum above zero to turn the analog noise in the camera as far down as possible. To make that work, one needs to feed the camera with a hot signal. So a good DSLR preamp needs two things: high gain and a clean signal when turned way up.

You know how with most analog audio products, you don't ever want to turn the knobs fully clockwise? Well, on the JL preamps you can. There's no burst of noise as you get to the end of the travel. In my previous measurements, the noise of the JL into a 5D2 (with gain controlled by magic lantern), the noise was below the threshold of 16 bit recording. There are some other minor drawbacks with recording into the 5D2 (EQ, aliasing, hard clipping, limited bit depth), but with the right preamp, noise was no longer the issue.

[Trevor Dennis]

Thanks Jon. I can see how it works now. I'll order one of the two channel JL units after a bit more reading.