One of the most common questions we get from beginning video producers is “how do I get my video to be more like what I see in movies and TV?” It used to be that everyone was looking for that 24p, shallow depth of field look that film has, but with modern DSLRs that look has become so common it’s no longer an issue for most people. While there’s a lot that new videographers can do to increase the professionalism of their video, the number one thing that separates the amateurs from the pros on the web is audio. You could (successfully) argue that good lighting, editing, and composition is also very rare on YouTube, but in the age of guerrilla filmmaking, even the pros are neglecting many of the fundamentals. If you ever watch reality TV, I’m sure you know what I’m talking about. On YouTube, and sites like it, you’ll find videos with varying degrees of production quality. The line that separates amateur from professional is drawn between good and bad audio.

One thing that you will hardly ever see (or hear) from a professional production, however, is bad audio. Why is this the case? Why is a medium that is so heavy on visuals so reliant on audio? The big reason is that humans are very good at absorbing information from a visual source, but not as good with audio. If we see video that’s lacking details, but can easily hear what’s going on, our brains will fill in the blanks where the visuals are lacking. That’s why whenever you see grainy, pxililated dash cam car chases on Silliest Police Chases 19, you can hear every police siren, tire screech, and metal crunch (these sounds are all added in post, but that’s another story). The video itself is ugly and hard to make out, but by being accompanied by good sound, our brains complete the picture for us.

Because we use sound so much to interpret video, bad audio, or audio that is difficult to hear, is extremely frustrating for the viewer, even if the picture is crystal clear. Consider a talking head recorded with the on-camera microphone. It doesn’t matter how great the lighting is, how emasculate the set is, or how crystal clear the picture is; if the viewer has to strain to understand what the person is saying, you can bet they’ll click to the next video. Conversely, if the same person is recording to VHS, in their garage, with natural lighting, but is wearing a lavalier mic, and every word can be heard clearly, the viewer is much more likely to continue watching.

So why is good audio so rare on YouTube? Let’s ignore the videos of cats and planking, where sound isn’t really an issue, and focus on scripted content. Firstly, YouTube directors just don’t think about recording sound when they’re planning their production. This goes back to humans being visual creatures. Just remember that that only means that we need extra help when it comes to audio. Secondly, recording good sound is an added cost on top of the cost of the camera, tripod, lights etc. Thirdly, YouTube directors may simply be inexperienced with audio equipment and be unwilling to invest time and money for a tool they’ve never used before. If that’s the case, there are some great resources out there to help you learn the ropes.

Good audio won’t make up for bad content on YouTube, but if you’re confident in your production, having good sound will elevate your production quality to a level above most everything else on the web. If you pick up an affordable mic and shoot once or twice while capturing good audio, I’m confident you’ll find that it makes such a big difference in your production quality, that you won’t even consider shooting without it again.

We all know the important place that DSLRs now have in the world of video production. The versatility of these cameras, the ability to alternate between still photography and video at a shoot, the interchangeable lenses, large processors, and more, have all meant that DSLRs are an attractive option for shooting video. At Videomaker we’ve written about a large number of these cameras and we continue to be impressed. But there has also always been a number of significant and important distinctions between prosumer camcorders and DSLRs and at the top of that list is… audio. Without an XLR input for recording sound, DLSRs depend on add-on accessories and/or separate audio recorders which then can, of course, complicate the work in post.

That’s where companies like Azden step into the picture.

Azden has just announced their professional low noise audio mixer designed specifically for DSLR cameras, the FMX-DSLR. We at Videomaker are looking forward to taking a closer look at this audio mixer and pairing it with the DSLR cameras we shoot with here. For now we can report that this small device can be mounted directly between the tripod and camera and is powered by four “AA” batteries. The FMX-DSLR includes a switchable AGC circuit for noiseless operation, 2 XLR microphone inputs with individual level controls and switchable phantom power, stereo mini jack microphone input, mini jack line level input, stereo mini plug microphone output and headphone output with level control. LED peak level indicators, input return function (RTN) to monitor camera audio and a power switch with power on/low battery LED. Azden indicates that this device has an MSRP of $400.

As audio solutions like the FMX-DSLR continue to come along, they will certainly work to further blur the line between cameras best suited for still shooting and those able to straddle the line between the photographer and videographer.

We live in an age were most every family in America owns a video camera and editing software, even if they never sought out either. Anyone with an internet connection can put their video online where it can be seen by everyone on the planet. The web has given anyone who wants it, access to far more information than any film school alone can provide. The world of video production has entered a golden age. There are no more excuses not to pursue whatever goals you hope to achieve with video.

In the late ’90s, when the average middle-class American could purchase video editing software to run on the home computer they already owned, it was clear that we were entering a new era of video production. Consumer camcorders were already common, but with non-linear editors entering people’s homes, so too, was a quality of production reserved only for professionals or those willing to spend thousands on uni-tasking equipment.

Consumer video production stayed at that point for about 10 years, as individuals shot SD footage on their home camcorders and edited on their PC or Mac.  In the last few years, however, we’ve seen a surge forward in the process of consumer level video production. It’s a result of computers and cameras getting cheaper, and moving into every electronic device in the home.

When The Blair Witch Project came out, people were amazed that someone could shoot an entire film that would be released world wide, on a simple consumer camcorder. Today, an iPhone 4S could easily take better quality video and cost significantly less. The only reason, I believe, that we haven’t seen a nationally released film shot entirely on a smartphone yet is simply because an upgrade in picture quality and functionality can be purchased for under a thousand dollars.

It’s not just the cost of quality cameras and accessibility of editing software that is bringing good looking video to the masses, it’s also the size. It turns out that a fluid-head tripod capable of supporting a 3lb camcorder doesn’t cost a lot of money. The same can be said about slider dollies, jibs, and even stabilizers.

Of course some equipment is as pricey as it’s ever been. Lights and microphones, for example, don’t seem to be getting any cheaper, but we live in the age of the internet. It’s much easier to learn from others about how to build your own lighting rig, or even record studio quality ADR straight into your laptop or iPad.

Cameras and editing systems are getting cheaper by the day, and the free flow of information on the internet is making it easier than ever to break into video production. As a result, Hollywood is losing its hold on the film industry, which is a good thing for both consumers and producers of great video.

Two new mics from RØDE are welcome additions for anyone shooting video on DSLRs. The VideoMic and the VideoMic Pro are very similar, and either one sounds like it will be very capable of recording good audio. In fact many of the specs like frequency range 40Hz-20,000Hz, dynamic range 114dB (per IEC651) and signal to noise ratio, 74dB SPL are exactly the same. Both have features that allow it to be used in multiple situations, high pass filters for different audio environments and 3/8-inch thread for stand or boom mounting.

The biggest differences to notice are really between these and other mics, small and designed specifically for a standard cold shoe, these mics bring warranted quality in a very mobile super-cardioid mic. Other notable differences include weight, the VideoMic is a rugged 6.2 oz, but the Pro is half that coming in at 3 oz. Also on the note of dimensions, the VideoMic extends nearly four inches longer than the Pro’s 6-inch length.

A windscreen is included with the VideoMic to round out the simple differences, but either way, both make use of an integrated shock mount so as to reduce the amount of unwanted vibrations or handling noise that will be recorded. Really, the one aspect of these mics that seems like it wasn’t built for your video kit is the 9V battery requirement. The pro version boasts at least 70 hours of use. The other aspect of mics this size is the lack of XLR output, the only output is via 1/8-inch, but then you wanted to use this with your DSLR anyway right?

For video producers, a super cardioid is one of the most handy types of mic to have, and these two are exceptional options. Strongly considering picking one up for their versatility, portability and quality, and with a ten year warranty and reasonable cost, it is likely that the VideoMic, 249, or the VideoMic Pro, 329, will put your productions in motion.

Recording good audio during the production of your video is extremely important. Muffled sounds, annoying plosives, and barely audible voices are all elements that could ruin your audio and inevitably ruin your final project. When using lavalier microphones, placement plays an important role in how the mic picks up your talent’s voice. Proper placement will help you capture good, clean audio.

For the best results, have your subject wear a button-down shirt. The mic should come up from underneath the subject’s shirt, so the wire is hidden, and placed between the top two buttons, or about eight inches below the talent’s mouth. By placing the mic below the mouth, rather than off to the side, you’re maximizing the lavalier’s ability to pick up sound, which will result in a better recording. You can also adjust the mic placement, up or down, to find a location that best avoids the bass of the chest cavity and the pops of plosives.

Remember to always listen to the incoming audio with headphones. Pay close attention to any additional noises caused by the material of your subject’s shirt, or a dangling necklace that scratches against the microphone. Practicing proper mic placement and monitoring will help you capture great audio every time.

For more information on how to record great sound every time you shoot, what mics you should use, and how to avoid common audio recording mistakes check out our audio articles under the How To tab on the Videomaker website.

Audio is one of the most important pieces of the production puzzle. It is a well-known fact that people will tolerate a movie with bad picture quality just as long as it sounds good. However, they are less likely to sit through a movie with bad sound, even if the picture is great. For that reason, it is extremely important to get your audio right during production. Assuming you can just “fix it in post” is your number one enemy.

Quality audio begins at the recording phase. One way to ensure you’re going to capture usable sound is by using the camera’s manual controls, or by overriding the automatic gain control. Automatic gain is enemy number two in the world of sound. Though it seems like a good idea, automatic gain can lead to dips and rolls in your audio. Turn off your camera’s auto gain, if possible, and control your levels manually. If your camera doesn’t have the option to turn the auto gain off, there are ways to work around it and still be able to capture great sound.

Though audio tends to be an afterthought during production, it should always be at the top of your list of priorities. Capturing great audio is invaluable to the process of making movies. Having manual control over your levels will allow you to capture better sound, saving you from unnecessary post-production headaches.

You won’t have to resort to unreliable post-production fixes when you follow the hints from our Videomaker experts. Find more information on great audio – as well as other video topics – in every issue of Videomaker, the magazine dedicated to bringing you the best video training and advice possible. Subscribe today and learn more secrets to great sound quality.