Canon Rebel T2i Quick Start Manual
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Canon Rebel T2i Quick Start Manual

For video recording
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Canon Rebel T2i (EOS 550 D)
Quick Start Guide
For Video Recording
v. 01 2020

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Summary of Contents for Canon Rebel T2i

  • Page 1 Canon Rebel T2i (EOS 550 D) Quick Start Guide For Video Recording v. 01 2020...
  • Page 2 This is a Beginner’s Guide • This is a beginner’s guide to shooting video with a DSLR camera. • Although this is a cheaper model of DSLR, the principles demonstrated for determining exposure will be the same for more expensive models. Some of the same image problems exist in the high-end DSLRs as well.
  • Page 3 • The Canon T2i is a 18 Megapixel entry level DSLR (released in 2010). • It records HD 1080p video to an internal SD card. • This guide will explain the basic procedure for shooting video and recording audio while making reference to specific equipment in the CDA EV depot.
  • Page 4 When to use this camera • For video recording the Canon T2i camera is better than using a phone but not preferable to an actual video camera. • Advantages of the Canon Rebel DSLR: relatively simple to use, a good...
  • Page 5 Video vs Still Image • Since this is a still camera with a video option, you may be tempted to record video with the camera in a vertical position. Never do this (unless you have a special vertical video installation in mind). Keep the camera horizontal.
  • Page 6 Basic Operation Essential Menu Settings In the following examples, you can see the placement of the menu setting by looking directly at the LCD on the T2i.

  • Page 7: Sd Card Slot

    SD card slot This model comes with a Class 10 8 GB SD card. This will record 22 minutes of HD video. Video can be recorded with a Class 6 SD card or higher.
  • Page 8 Buffer Memory Indicator You’ll notice that when you are recording there is a buffer (memory) indicator on the LCD. If the card is too slow to record video, the recording will stop and the indicator will have reached the top.
  • Page 9 Battery • Turn on the camera to see the battery charge level. • The battery will last about two hours and takes about the same amount of time to charge. • Turn off the camera when you are not using it to save battery power. •...

  • Page 10: Movie Mode

    Movie mode Turn the dial on top to movie recording mode.
  • Page 11 Lens Controls On the 18-55 mm zoom lens there are two rings for focusing and zooming. There is a switch to enable auto or manual focus and a switch for image stabilization. Turn off stabilization when the camera is on a tripod.

  • Page 12: Holding The Camera

    Holding the camera To minimize camera shake, turn stabilization on when you are hand holding the camera. Try to hold the camera as steady as possible by bracing it against your body or holding one hand underneath the camera (as shown). It may help to keep a tripod shoe attached to the bottom of the camera to give it some extra weight.

  • Page 13: Tripod Mounting

    Tripod Mounting It helps to have a quarter handy to mount the tripod shoe on the bottom of the camera. Tighten until snug.
  • Page 14 Photo vs Video Tripods • There are different types of tripods. Photo tripods are usually lighter and simply designed to hold the camera steady. • Video tripods have larger heads that allow for fluid movement when panning or tilting. • Select the tripod that is appropriate for your use. If your shots are static, then a photo tripod will be good enough.
  • Page 15 Movie Record Button vs Shutter Button Shutter (photo) and Auto Focus button (when pressed halfway) Movie Record Button...
  • Page 16 Overheating • When shooting in bright light, the camera can become overheated and the recording may stop. • This is a normal malfunction for this model. If this happens, just wait for it to cool down.
  • Page 17 Format the SD card Go into the “wrench” camera menu. Reformat the SD Card to erase any images or videos that may be left by the previous user.
  • Page 18 Set the Movie Recording image size and frame rate 1920 x 1080 30p is the most common HD video image size and frame rate in North America.
  • Page 19 About video image sizes and frame rates: • 1920 x 1080 is the image size in horizontal by vertical pixels. This is the size of HD video. • 24 and 30 are the frame rates: 24 frames or 30 frames per second (fps).
  • Page 20 More about NTSC frame rates • 24 and 30 fps are the standard frame rates in North America and Japan where we use the NTSC video system. The majority of other countries in the world use the PAL video system. They record video at 25 fps. •...
  • Page 21 Other Image Sizes and Frame rates: When recording 1920 x 1080 video, the Canon Rebel cameras can only record 12 minutes of continuous video. If you require a longer recording without interruption, you may shoot for 24 minutes with the 640 x 480 option.
  • Page 22 Recording Times by Image Size This chart gives you an idea of the file sizes for video.

  • Page 23: Changing The Video System

    Changing the Video System If you see 1920 x 1080 25 or 50 in the movie recording menu then you must change the video system menu setting from PAL to NTSC. Only record in PAL frame rates if the video is destined for distribution in countries that support the PAL video system.
  • Page 24 Auto or Manual Movie Exposure? I recommend using manual exposure for video recording. This is the only way to control shutter speed. However, here follows an overview of both approaches.

  • Page 25: Auto Exposure

    Auto Exposure Here is an initial auto exposure performed by the camera. There are problems. First, the image is overexposed. Second, the camera has selected a high ISO of1600 that will produce image noise. Try to avoid any ISO above 800. Third, the shutter speed is below twice the frame rate.
  • Page 26 Compensating for Auto Exposure Holding the AV button on the back of The camera and turning the dial adjusts exposure compensation. When the dial lines up on the middle, the optimal exposure has been reached. You can see that this compensation has changed the ISO to 800.
  • Page 27 Why manual exposure works best: • Using manual exposure is the only way to have control over the shutter speed. • Auto exposure will change your shutter speed at random with varying results. You may not notice the effect in a talking head video but the shutter speed can greatly affect how movement appears in your video.
  • Page 28 Manual exposure settings: • Determine your exposure manually in this order: • ISO (try not to use an ISO above 800 ISO) • Shutter Speed (usually twice the frame rate and never lower) • Aperture (f stop) • White Balance...
  • Page 29 ISO adjust To adjust ISO, hold down the ISO button and turn the dial on top of the camera. 800 ISO is the highest ISO you want to use with this camera. The lower the ISO, the less chance that you will have image noise.
  • Page 30 About ISO • ISO adjusts the camera’s sensitivity to light. • As you lower the ISO, the sensor becomes less sensitive. • Usually ISO 100 or 200 will work for outdoor scenes in daylight. • ISO 400 and 800 can be used indoors. •...
  • Page 31 ISO and Image Noise • You will not necessarily see image noise on the tiny LCD screen on the back of the camera. • If you find that you do not have enough light at the ISO 800 setting, then make sure that your lens aperture is set to be as open as possible.

  • Page 32: Shutter Speed

    Shutter Speed To adjust the shutter speed, move the dial on top of the camera. The shutter speed is the number in the bottom left of the LCD. Here it reads 60: meaning 1/60 th of a second. The standard shutter speed is twice the video frame rate.
  • Page 33 About Shutter Speed • The shutter is the amount of time that each frame of video is exposed. Shutter speed is expressed as a ratio and is abbreviated on the camera as a single digit. 60 on the camera means 1/60 of a second.
  • Page 34 When to change shutter speed: • I only recommend deviating from the rule of the shutter speed remaining twice the frame rate in the following situations: • One: You are outside on a bright day, you are already shooting at the lowest ISO possible (100 ISO), at the smallest aperture opening possible (f32) with image compensation and the image is still overexposed! In this case, increasing the shutter speed to a higher...
  • Page 35 Shutter Speed Distortions In the following two images you will see an example of a type of error that can occur when shooting video of an object in fast motion at high shutter speeds. Notice how in the second image, the blade of the fan is distorted. This distortion is caused by the electronic shutter of the camera.
  • Page 36 The fan is on high speed. The camera is using the standard shutter speed for 1080 24p video: The fan blades appear as we would see it with our eye: blurred!
  • Page 37 The fan is on high speed. The camera shutter speed is very high for 1080 24p video. The fan blades appear distorted. Normally all three are the same shape and size.
  • Page 38 Aperture To adjust the lens aperture opening hold down the A/V button on the back of the camera and turn the dial on top. The aperture opening (or f stop) is indicated to the right of the shutter speed. With this zoom lens, the largest available f stop varies with the focal length of the lens.
  • Page 39 Correct Adjustment When the dial lines up on the middle, the optimal exposure has been reached.
  • Page 40 About Aperture There is a metal leafed opening in the lens that lets in more or less light to the sensor (or to the film in an old film camera). This is the aperture. The smaller the number, the larger the opening. F 2 is a large opening.
  • Page 41 Aperture and Focus • Aperture also affects how much of the image is in focus, this is called depth of field. • The larger the lens opening (the smaller number the aperture) the narrower the depth of field or the less that is in focus. •...

  • Page 42: Depth Of Field

    Fixed focal length lenses used to have depth of field markings on them for each aperture. Here is a lens on an older Canon film camera. Here the markings are indicating that at f 4, the depth of field will be between just before and after 2 meters or between 6 and 8 ft.
  • Page 43 Depth of Field Here the markings are indicating that at f 16 the depth of field will be between 1.4 m and 3.2 m (approximately) or between 4.6 ft and 11 ft.

  • Page 44: Depth Of Field Examples

    Depth of field examples • The following still images show varying depths of field. • The images start with a small aperture opening and then as the aperture opening increases the depth of field becomes shallower. • Keep in mind that these are still photos that is why the shutter speed is varying, but the principle is the same in a video image.
  • Page 45 F 29: coffee cup text to buildings in focus. My point of focus is the sheet music.
  • Page 46 f 18: coffee cup text is blurred...
  • Page 47 F 11: foreground and background blurred...
  • Page 48 F 8: Pencil is blurred...
  • Page 49 F 5.6: book spine is somewhat blurred...
  • Page 50 F 4.5: the sheet music is now the only object in focus, and not all of it is in focus.

  • Page 51: White Balance

    White Balance • Light has a color temperature that varies depending on the time of day and the type of light • Our eyes adjust naturally but a camera must be told how to adjust • It is important to have an accurate white balance before you begin recording.

  • Page 52: Auto White Balance

    Auto White Balance Quick Menu Button The Quick Menu gives you access to many image settings.
  • Page 53 Tungsten White Balance in a Daylight Situation There are also white balance presets to choose for different lighting scenarios. Here the preset is obviously incorrect for this situation.
  • Page 54 Custom White Balance You may run into difficulties in a “mixed” lighting scenario, for example where there is a mixture of daylight and fluorescent or tungsten light. If none of the presets work, then perform a manual “custom” white balance. Take a photo of a white piece of paper in the same lighting as your subject.
  • Page 55 Custom White Balance This menu setting automatically selects the last still image you have taken as the custom white balance reference.
  • Page 56 Quick Menu Custom White Balance This becomes the custom setting for white balance.
  • Page 57 Other Exposure Settings: Highlight Priority The Canon Rebel cameras record video using a video codec that has a very low dynamic range (about 3 stops). The image has a high contrast and is easily overexposed. Enabling highlight tone priority can help to prevent overexposure.
  • Page 58 Judging Exposure with Playback • It is difficult to accurately judge exposure with the LCD screen. In particular, you want to try to avoid overexposing your image. • Overexposed areas in video can be so bright that they are “blown out”...
  • Page 59 Judging Exposure with Playback Make a quick movie recording to judge your exposure: just a few seconds. Then go to the Playback Menu by selecting the play button on the back of the camera.
  • Page 60 Checking Exposure in Playback Press the display button to see an alternate display. If the image is overexposed, the image on the left will have areas that are black. On the right, you have the histogram. You can see that the image has too much highlight information.
  • Page 61 The Histogram The histogram is used for judging the overall contrast of the image. Values increase in luminosity from left to right: shadows on the left, highlights on the right. Here are three different exposures of the same subject: The top histogram indicates a very bright image, possibly overexposed.

  • Page 62: Quick Menu

    Quick Menu The Quick Menu displays common settings in the LCD display: White balance Picture Style Still Image quality Movie Recording Size Auto Focus options Change the parameters for each setting with the dial on top of the camera.

  • Page 63: Picture Style

    Picture Style Picture Styles influence the colors and contrast of the image. For video use the Neutral Picture Style. The video image quality is already so limited, it is best not to increase contrast or saturation with a Picture Style preset.
  • Page 64 Still Image Quality Adjust the still image quality as you like for taking still images but be sure to take photos separately from recording video The camera manual says that you can take still images while shooting video, but in practice this stops video recording. If you require still images and video of a subject, consider taking photos separately.
  • Page 65 Movie Recording Quick Menu Setting The Movie Recording Quick Menu Setting also displays the amount of recording time left on the SD card.

  • Page 66: Autofocus Mode

    Auto Focus Mode Live Mode is the recommended auto focus mode. The switch on the lens must be set to AF.
  • Page 67 Focusing and Movie Recording • There is no continuous auto focus when recording video. • Use manual or auto focus to focus before starting your video recording. • If you wish to change focus while recording use either method. • Make sure that the “AF during Movie” menu setting is enabled if you want to use auto focus while recording.

  • Page 68: Auto Focus

    Auto Focus • To use Auto Focus: • Set switch to AF on the lens. • Set Shutter/AE lock Menu setting to the AF/AE lock position • Set AF Mode Quick Menu Setting to Live Mode • Point the camera at the subject. •...
  • Page 69 Auto Focus The focus area is the rectangle in the middle of the image. Pressing the shutter button down halfway, the rectangle will turn green when the focus is reached. The focus area can be moved around the image with the four pointed wheel on the back of the camera.

  • Page 70: Manual Focus

    Manual Focus • To use Manual focus: • Set Focus to MANUAL in the Menu Setting or set the switch to MF on the lens. • Point the camera at the subject. • Use the magnifier button to digitally zoom. •...
  • Page 71 Use the magnifier for Manual Focus...
  • Page 72 Focal Plane Indicator When focusing manually, you are calculating the distance from the subject to the camera’s sensor, not the front of the lens. Most cameras have a focal plane indicator: a circle with a line through it. You are focusing up to this point.
  • Page 73 Essential Menu Settings Set Shutter/AE lock Menu setting to the AF/AE lock position. The function of these two buttons on the camera change depending on whether you are in manual or auto focus.
  • Page 74 Focusing and Zooming • The camera comes with a 18-55 mm zoom lens. This is a wide-angle to medium telephoto lens. If you change the focal length of the lens then the focus may change. • Even if the camera is stationary and remains fixed on the same subject, as soon as you zoom then you may have to refocus.
  • Page 75 Conclusions about focusing • Because of the limitations of auto focus and the limitations of the zoom lens supplied with the camera we can conclude the following: • Try to avoid shots with camera movement • Try to avoid zooming while recording...
  • Page 76 Copying Video Clips to Your Computer The camera records video using a H.264 codec (45- 50 mbps) in the .mov container. These files will open up in QuickTime Player, VLC media player or any video editing program, including iMovie. Simply copy the clips from the SD card on to your computer and import them into the editing software of your choice.
  • Page 77 Canon Rebel T2i (EOS 550 D) Audio Recording Options The following is a realistic assessment of the difficulties of recording audio with this camera. A real video camera with proper XLR microphone inputs will simplify your task.
  • Page 78 2. Mounting a small directional microphone on the top shoe of the camera and input directly into the camera. Unfortunately, the Canon T2i has an automatic volume level adjustment that adds noise to the audio signal. This is a somewhat acceptable option.
  • Page 79 Option Two: Small directional microphone The Rode microphone is small mono directional microphone that can be mounted directly on the camera. It picks up sound from any source that is directly in front of it and minimizes sounds from the rear and sides of the microphone (a super-cardioid polar pattern).
  • Page 80 Option Two: about the ”wind shield” The microphone can be used with or without the foam windshield. In general, it is recommended to keep the windshield on. This “windshield” does not offer any protection from the wind. Never use this microphone outside on a windy day.
  • Page 81 Audio Output Level Adjustment (Pad) and Battery The microphone requires a 9 volt battery (not included). In this compartment, with a magnifying glass and a pin, the output level for the microphone can be adjusted. Arrange the two switches to correspond to the desired output level.
  • Page 82 Audio Output Levels for Rode Microphone • The Canon DSLR camera has an automatic level adjustment that adds a constant hiss to any audio signal using the microphone input. • An “acceptable” recording depends on the signal to noise ratio. Record speech at the -10 dB output level and 0 dB input level.

  • Page 83: Microphone Input

    Microphone Input The microphone input is on the side of the camera. There is no headphone output. So there is no way to monitor audio input directly into the camera! There is no way to check your audio signal while recording. The microphone is mono, so the same signal will be recorded on the left and right stereo channels of the...

  • Page 84: Audio Menu Settings

    Audio Menu Settings There are only two audio controls on the camera: Disable the beep in the menu. Turn audio recording on.
  • Page 85 Rode Microphone ON Because there are no audio meters on the LCD screen of the camera, and no indication that you are recording audio, it is very easy to plug in the microphone and to not turn it on.
  • Page 86 Problems with Background Noise Point the microphone away from any noise in the environment. Fans, refrigerators, traffic and other types of constant “broadband” noise can be amplified by the microphone. Keep the microphone as close as possible to the subject using the recommended output settings. Try not to manipulate the camera while you are recording.
  • Page 87 Option 3: Recording to an External Recorder This is the Zoom H6N recorder. The CDA has different models of Zoom recorders with either two, four or six microphone inputs. They all operate with AA batteries. The recorder has a tripod mount on the bottom of it.
  • Page 88 Zoom Recorder Controls On the left side of the Recorder: The power button. SD card slot: the Zoom records directly on to a SD card. Headphone output: Always monitor the signal with headphones. You may hear an echo in the headphones while recording due to latency.
  • Page 89 Zoom Recorder Controls On the right side: USB output to use the recorder as a USB interface or to copy files on to a computer. You can also copy files by taking out the SD card. The menu button and the toggle switch to go through the menu pages.
  • Page 90 Recommended Headphones Use enclosed analog headphones to monitor recording, like the pair pictured here. The CDA has many Sennheiser HD 280 headphones. These are excellent. The Sennheiser HD 206 headphones are OK too if you want to purchase something cheaper of your own.
  • Page 91 Microphone Options for the Zoom Recorder • The built-in stereo XY microphone • Directional condenser (Sennheiser 416) • Dynamic (Shure SM48) • Wireless clip-on or Handheld microphone The CDA has other microphone options as well, but these are the most common for voice and audio for video recording.
  • Page 92 The Built-in XY Microphone • The built-in XY microphone is good for subjects at a close or medium distance. It does pick up other sounds in the environment. A stereo microphone provides a recording of a sound with a feeling of depth (an idea of how that sound is situated).

  • Page 93: Recording With The Built-In Microphone

    Recording with the Built-in Microphone The built-in microphone is on top of the recorder. It records in stereo with two directional microphones in a XY pattern. You can adjust the width of the stereo recording from 90 to 120 degrees. 120 degrees will pick up audio from a wider area.

  • Page 94: Recording Levels

    Recording Levels Adjust the recording volume level so that the audio peaks around -12 dB or between -12 and -6 dB. Press the Record button to start recording. The recorder will indicate the recording time in red.
  • Page 95 About Digital Volume Peak Meters • Digital Volume Peak Meters end at 0 dB. • The recording signal should never go anywhere near 0 dB. • If a sound gets to 0 dB, it will clip and distort. • The read out on a digital peak meter cannot respond rapidly to display transient (very rapid) peaks.
  • Page 96 Menu Settings: Rec Format Record in the uncompressed WAV format. Do not use the MP3 format. The most common recording format for video is WAV 48 kHz/24 bit. Be consistent. Always record at the same sample rate for one project. 48 kHz refers to the sample rate.
  • Page 97 Menu Settings: Backup Rec and File Structure The Backup Rec option will record a duplicate file at a -12 db lower volume than the original file. This is a safety recording in case your original file becomes too loud and distorts. Distortion cannot be corrected.
  • Page 98 Menu Settings: Project Record Location There a ten folders on the SD card. Make sure you know into which folder you are recording! Each audio file will have it’s own folder within that folder! The file name of the audio will indicate the channel.
  • Page 99 Playback of Files Do a quick test recording. In the menu system, navigate to the folder where you have recorded the file. Then press play on the Zoom recorder. Adjust the volume for the headphones on the side of the recorder.

  • Page 100: Information On The Lcd Screen

    Information on the LCD Screen The main screen tells me the following: I am recording into Folder 01 on the SD card. My recording format is 48 kHz 24 bit WAV file. I am recording on track 1 (red) that has phantom power.
  • Page 101 Canon T2i. You cannot use it with the Canon T2i camera, but you can use it with other DSLRs like the Sony A7S II or the Sony A7R cameras.
  • Page 102 Using Other Microphones • The built-in microphone on the Zoom makes a good clean voice recording, especially when placed very close to the speaker ( 1 to 2 feet, .3 to .6 m). • However, the audio file can be quite thin sounding in comparison with other microphones.
  • Page 103 Dynamic vs Condenser Microphones • A Microphone is a transducer changing acoustic energy to electrical energy. • Dynamic microphones do not require electrical power to operate. They can be used to record very loud sounds. • Condenser microphones are smaller and more sensitive. They are ideal for recording soft sounds.
  • Page 104 Directionality: Pick-up (or Polar) Patterns Microphones do not only pick up sound from what they are pointing at. They can have a spherical (omni-directional) or more directional (hyper-cardiod) pick-up pattern. Each one of these patterns cancels out sound from behind the microphone. Look at the angle of rejection (of sound) on the chart and the amount of rear rejection.
  • Page 105 Microphones Inputs All the following microphones will plug into one of the four XLR inputs on the Zoom. The Zoom accepts ¼” TRS cables and XLR male connectors. The XLR male connection has three plugs.

  • Page 106: Input Controls

    Input Controls Adjust the volume for each microphone input on the front of the Zoom recorder. XLR microphone inputs should have the PAD set to 0. The PAD switch is used when connecting devices that output at a higher volume: mixers or effects pedals.
  • Page 107 Shure SM 58 Dynamic Microphone The Shure SM58 is a dynamic microphone. It does not require power to operate. The dynamic microphone has a low volume output so it will require more input gain than a condenser microphone. The SM58 has a cardiod polar pattern and is a great choice for voice recording in an environment where you cannot eliminate background noise.
  • Page 108 Pick-up or Polar Pattern of a Shure SM58 The Shure SM 58 dynamic microphone will offer the maximum rejection of surrounding noise. It is often used by vocalists on a stage where is can minimize the sound of all the surrounding musicians.
  • Page 109 Dynamic Microphone Placement for Voice In this photo I am holding the microphone about six inches from my mouth but not pointing the microphone directly at my mouth to minimize “popping” sounds created by consonants “b”, “p”, “t” and “d”. People who speak softly may benefit from pointing the microphone more directly at themselves but still trying to keep a little “off axis”...
  • Page 110 Lo Cut Filter for eliminating Proximity Effect A low frequency cut filter can be added on an input channel in the Zoom recorder. Go into the INPUT/OUTPUT menu to add this effect. This will reduce the “proximity effect”. Here I am adding a 80 Hz low cut filter, meaning that the low frequencies will start to have their volume reduced starting at 80 Hz.
  • Page 111 Clip-on Wireless Microphone For a more inobtrusive microphone (or if you require both hands), use the Sennheiser AVX wireless microphone kit. The clip-on wireless microphone should be placed about 20 to 25 cm below your mouth. It also gives a very close “intimate”...
  • Page 112 Establishing Wireless Transmission The Sennheiser AVX wireless clip-on microphone must be plugged into a transmitter. Turn on the transmitter first and then turn on the receiver once it is plugged into the WAVE recorder Transmitter and has phantom power (see next slide). Then long press the PAIR button on the transmitter until it flashes green.
  • Page 113 Phantom Power must be enabled All audio devices that accept an input will have a “+48 V” button. This can be turned on to deliver “phantom power” to a condenser microphone. It should never be turned on when a dynamic microphone, like the SM58, is plugged into the channel.
  • Page 114 Output Volume Level adjust on Receiver A meter on the side of the receiver shows the output volume level of the signal to the recorder. Press the AF Out button to change the level. Keep the level three quarters of the way up (three lights lit up).
  • Page 115 Sennheiser 835 handheld microphone This is like a wireless SM58 microphone, but it has an omnidirectional polar pattern. It will pick up a little more room noise than the SM58. Position the microphone in the same manner as the SM 58 microphone. This microphone has a built in transmitter.
  • Page 116 The XVX kit comes with a XLR to 1/8” adapter to plug the receiver straight into the input of a camera. Do not use this with the Canon T2i or any other DSLR camera that has automatic volume control on the input. The recording will be constantly distorted.
  • Page 117 Sennheiser MKH 416 Super-Cardioid This microphone is a good choice for when you cannot place a microphone close to your subject and it is the best choice for recording outside. It is a highly directional microphone and should be pointed directly at the subject.
  • Page 118 Sennheiser MKH 416 Field Kit The MKH 416 has a field recording kit, made by Rycote, for recording outside. The kit includes a shock absorbing mount and windshield. The windshield works well and also comes with an additional furry shield. The microphone is often mounted on a pole so it can be aimed at speakers from above.
  • Page 119 Polar Pattern of the MKH 416 This diagram is reproduced from the Sennheiser MKH 416 manual. It has an unusual shift to the left in the pick-up pattern.
  • Page 120 Adding a Limiter Effect with the 416 The MKH 416 is a very sensitive condenser microphone. I recommend putting a limiter effect on the input channel. The limiter will avoid loud sounds distorting and peaking. It could also save your ears when you are wearing headphones to monitor the recording.
  • Page 121 Slating for Synching If you are recording audio for video with an external recorder, the audio will have to be synchronized to the image with editing software. Some software can synchronize the audio to the guide track audio on your video file. For example, if you used the low quality camera microphone on the front of the T2i, this might suffice as a guide track.
  • Page 122 Tips for Slating • The sync mark is a sharp loud noise that lasts for one frame of video. • A proper slate, two pieces of wood or a hand clap will suffice. • Make sure the slate is in the frame so that you can clearly see the point of contact.
  • Page 123 Thank you for reading this guide. • I hope you have found this guide helpful. • Look on the Video and Sound Editing/Technical Support Documents page of the CDA website for more equipment and software guides. www.concordia.ca/finearts/cda.html • • Positive and constructive feedback or comments are welcome. •...

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Eos 550 d

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