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The computer needs software to capture the incoming digital audio and mix, manipulate, and save it. You'll need a preamp for every microphone you use, so a two-channel interface is a good place to start if you use a shotgun microphone together with an ambience mic. Audio interfaces range from inexpensive USB units ($100) with two preamps to expensive multi-channel rack-mount units with as many as 8 preamps ($400 and up).
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Audio interfaces usually include one or more built-in preamps for microphones and use USB or Firewire (IEEE 1394) to connect to the computer. The bridge between a microphone and the computer is the "audio interface" which takes care of converting the analog microphone input to a digital output the computer can manipulate and store. If you don't plug a microphone into your camera, you'll plug it into some kind of recorder, ideally a computer (a laptop if you're doing a field recording). You'll need a preamp that can provide 48 volts of "phantom power" to the microphone if you're using a condenser mic (most good shotgun mics are condenser mics). Instead, a microphone should plug into a preamplifier, which takes a low signal from a microphone and turns it into a "line level" signal suitable for mixing, recording, or editing. It's possible to use an XLR-to-minijack cable to plug your microphone directly into your camera, but it's not recommended and probably won't work. Microphones traditionally attach with a 3-pin XLR connector, which provides an electrically balanced signal path that eliminates noise interference over long cables. What you plug your microphone into, if it's not your camera, is also important. Higher-end microphones quickly escalate in price. A good entry-level shotgun microphone costs between $150 and $300. This means that your microphone needs quickly escalate if you want to also capture environmental/ambient sounds in your scene. Because it (mostly) captures only the sounds that you point it at, you can capture high-quality recordings of dialogue without inadvertently recording ambient noise. The answer to the first question is "a shotgun microphone," which is recognizable by its long tubular structure and is renowned for its highly directional performance. The first questions to answer once you decide to graduate from on-camera audio to a separate microphone are: What kind of microphone do you use? What do you plug the microphone into? For great audio, you want a guy with a wind-muff-wrapped shotgun microphone bolted to a boom, pointed right at the talent's mouth.
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An external microphone connection jack is probably only a tiny 3.5mm terminal suitable only for attaching low-power lavaliere microphones. Sure, an accessory hot-shoe may support bolting on a higher-quality microphone than what's already embedded, but that doesn't solve all your audio problems.
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Let's think beyond the camera-mounted microphone.Įven otherwise high-quality consumer-level cameras don't have many features when it comes to audio. None of this makes for particularly good audio capture for your video or film project. This microphone captures not only the noises your talent make in front of the camera, but also the noises the camera handler makes, the noises the wind makes, and the thump-thump noises the camera operator's hand makes against the chassis. You can usually find a hole or a slot on some nub-like protrusion towards the front of the camera, behind which rests a tiny microphone. Most video cameras have some sort of audio capture built-in.