The camera department and the sound crew tend to be thought of as existing in different universes, but I’m starting to see how we may have a lot more in common than you might think. As you may know, I do not yet own a video-enabled DSLR camera, but I plan on buying one soon. My search for the ideal camera has been grueling. I’ve read endlessly about it, and picked the brains of my DP friends incessantly determine which way to go. The more I dig into the practices and theories behind shooting high-definition video, the more I see parallels between recording sound and capturing moving images.
On the more obvious end of the spectrum, you could say that filmmakers and music producers share the challenge of trying to get the best performances out of their actors/musicians. It’s true. Directing actors on set and musicians in the studio requires a delicate blend of being a psychologist and peep rally cheerleader. But the similarities between producing sound and image runs into the technical side of the fence as well.
Let’s get back to buying a new camera for a moment. You need to be careful how you judge a moving image when you’re camera shopping. You need to know what to look for when you compare the footage from the different cameras in your price range. This is where the trained eye and the inexperienced eye see different strengths, and often make radically different decisions.
The Canon DSLR cameras like the 5D mkII and the T2i are wildly popular models for people who shoot video. Users rave about the brilliant colors and the filmic quality of the video that they produce. The colors pop and come alive straight out of the camera. When you compare the footage shot by a Panasonic GH2 side-by-side, the GH2’s picture will look somewhat dull and flat. This is why the inexperienced will often opt for the Canon cameras. The experienced shooter prefers to have a flatter image straight out of the camera, so they can create a look and bring out colors with post production color grading.
This is where I see a connection between recording music and making movies. Everyone who puts an analog microphone on an instrument has to plug the mic cable into a preamp. What you do with the microphone’s signal from there can differ. Some people will send it into a compressor or an EQ to bring out more character. The problem is that once you’ve recorded the sound, you’re stuck with the sound of the compressor and the EQ. This is why many audio people choose to record sound without compression, EQ, or other effects. It gives them a flatter and more neutral sound that they can play with in the mixing stage.
I understand that many people have the expertise to adjust the Canon cameras to shoot flat, as well as adjust the Panasonic cameras to shoot with accentuated colors. The lighting department is in on this too. They will intentionally light a scene flat, so that the post production team has more leeway to create a dynamic look for the final product.
I’ve still got a lot more to learn about shooting, and how to handle the footage properly in post in order to create the best finished product possible. But when I see parallels like this between making movies and recording music, it makes me feel like I’ve already got the technical knowledge, and I just need to learn how to transform it into capturing images.
If you own a T2i, don’t be discouraged by any of this. Learn how to adjust your camera and lights to shoot flat, and learn more about color grading in post. Unfortunately, I cannot currently offer tips or advice about color grading. I don’t know the first thing about it. But I can guarantee you that I will be taking this on soon. I’ve got a new project in the works, and I fully intend on digging into the grading process. Stay tuned for a future post on that subject!
