So as a solution, many filmmakers are using audio recorders separately and then auto-syncing the audio and the video from the DSLRs in post using the software tools built into Final Cut Pro X or Plural Eyes, which works in Premiere Pro, Final Cut, Avid, Vegas, and other popular software. Some filmmakers don’t want to have to trust that the DSLR they’re shooting with will record audio properly, and it’s hard to blame them when many DSLRs even today have clunky and limited audio menu options that are more suited towards still photography than shooting video. Many documentary filmmakers (and other filmmakers) are turning to completely separate audio solutions when shooting with DSLRs today. Here are some of the best DSLR audio recording solutions available today: Solution #1: Separate Audio Recording for DSLRs Luckily, there are now plenty of solutions for DSLR audio recording that address the problems of auto gain control and lack of phantom power.
And worse, some DSLRs (notably Canon models like the 5D) do post-processing like auto-gain control on audio signals from external mics instead of trusting that their signal is set correctly, which results in the audio from even professional mics sounding bad and “hiss-y” during quieter moments. Unlike traditional video cameras that have XLR jacks to plug external mics, wireless hops, or wireless lavs into, DSLRs often have only a 1/8th inch minijack port, which of course can’t provide phantom power to a professional microphone, even if you do have an XLR cable adapter. (Note: you can also get DSLR shotgun microphones specially meant to plug directly into your DSLR camera.) But the audio side of DSLR filmmaking is a topic that doesn’t get enough attention. Today many documentary filmmakers (and other filmmakers) are shooting on DSLRs because of their ability use large sensors with interchangeable lenses which offer shallow depths of field, resulting in a beautiful picture.
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