OK, next victim… But first, let’s recap: After testing the Canon’s video/audio capabilities straight out of the box, I concluded that the mic just can’t handle the extreme decibels from the photo pit. Maybe if there was a way to attenuate the sound coming in, so it wouldn’t clip? And we know the video will have the same issues that still pics will have… Reds can easily blow out and block up, since most concerts use a ton of red stage lighting (and camera sensors can have issues with an abundance of that part of the light spectrum – can anyone find me a scientific explanation why CMOS sensors seem to lose details in over-exposed red channels, easier/quicker than in blue and green?)
We also learned that following focus in such a fast-paced, dynamic setting was a big chore, since you have to base focus off the small on-camera screen (which doesn’t flip up/down/out). However, there was still enough potential in the Canon 5DmkII that it is worth refining.
Now, to the next match-up… The 5DmkII vs 1980’s rock band Poison:
OK, so my main focus on this trial was to improve the sound. The video wasn’t too important to me, so I didn’t worry about critical framing or focus. I really just wanted to see what I could do to fix the weakest link in the camera’s chain. The next logical step? Add an external mic that has the ability to attenuate the input and reduce the chance of clipping.
I used a set-up that I already had for better sound on my camcorder – an XLR-style shotgun mic and a Beachtek input adaptor with phantom power. It is basically like this one here: Beachtek adaptor
I’ve used this sound system with pretty good success on my camcorder-created videos. The only downfall is the lack of meters. You can ballpark the sound with a set of headphones, but meters would be MUCH better. This unit is more expensive, but is specifically designed for the 5DmkII and I think it has an input VU meter: Beachtek adaptor for the 5DmkII
So, without a meter and no headphones to rough in the settings, I just decided to knock down the input to the halfway mark. The sound is MUCH better, but 90% of it is still way too hot. I can see clipping across all but the quieter sections, when I view the sound levels in FCP. However, this set-up made a BIG improvement over the stock, in-camera mic. I bet with the correct input levels set on my Beachtek, I would have great sound.
But all is not perfect in the audio world. The shotgun mic is facing forward and picking up C.C. Deville’s guitar. It was either grabbing his stage monitor, or the sound straight from his guitar amp(s) and not much else. You can tell the difference when I pan away from the stage around 8 sec and pan back around 20 sec. The sound is more uniform during that minor period, then it’s back to being overwhelmed by the guitar directly in front.
This issue makes C.C.’s amazing guitar work really stand out and shine from 21 sec to 30 sec, but won’t cut it for an overall video recording. Just look at Bret Michaels’ vocals around 51 sec to the end. He’s talking, but you can’t hear him. Not good if you can’t pick up any vocals. So is there a solution?
There IS a solution! I am wondering if the cheapest thing to do is to face the mic up or away from the stage, trying to pick up the stage’s main speaker system. It will have a mix of ALL the performers. Another choice is to try a different type of microphone. Mine is a shotgun type, which works perfect for my interviews. It focuses in on the sound from the person in front of me, and it pretty much ignores stuff to the left, right and behind. It is a focused mic.
Instead of a mic with a very focused, narrow field, the use of a microphone designed to pick up a wide range/field might be the way to go. This might’ve seemed obvious to you guys that do video as a main career and stills as a side thing, but I’m the opposite. I’m learning video as a supplement to my stills work.
Another option is to capture sound from the soundboard (the place where the guy sits and adjusts the monitors, speakers, mic input, etc for the show). The soundboard input will be a rough mix, but still much better than the shotgun mic or the in-camera mic. There are other, more complex options, but then it gets to be a big production, and that’s missing the spirit of using the 5DmkII for concert video.
Don’t get me wrong. I think the 5DmkII would make a great pro concert video. Get three of them running and a pro sound recording rig and you could make a GREAT video! You could have one guy on each side of the stage and one in back getting the long view… Man, that would be wonderful. But, this is really about a one-man photo-j style video.
So, let’s tally the votes so far. Canon vs Slayer? A definite win for Slayer. Their massive lighting and powerhouse sound pummeled the stock camera. Canon vs Poison? I think Canon could’ve held its own visually (you can see I got some nice close-in stuff of C.C. Deville during his intro riff), if I had concentrated on the video better.
The sound, though? I think Poison still beats Canon, or at least with the way I have it set up so far. But, this gave me a few ideas on how to finally beat the next opponent, whoever decides to challenge this superb little camera. I bet I come back with some nice – OK, acceptable – sound from the next match!
I've found through experimentation that a shotgun works better than an ambient when doing a one-man band job of recording music at a concert. Especially a really good shotgun like a Sennheiser …
— Randy Eli