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Cameras... love them, hate them
- either way, we are doing "sound for picture"
398 topics in this forum
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- 2 replies
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Thought some people here might be interested in this free meeting tomorrow (May 21, 2014). Perhaps some interesting perspective on spectrum, interference, and stuff? Please fill us in if you go... Posted by Bill Hogan on CML: Hi Everyone: All are encouraged to attend the Wednesday, May 21 meeting of the Hollywood Section of SMPTE. The program covers RF transmission from remote cameras. Refreshments will be served starting at 6:30 pm with the program to begin at 7:30 pm It is asked that your RSVP for this FREE meeting. RSVP to: https://hsmpte21may2014event.eventbrite.com Full details at: https://www.smpte.org/sections/hollywood/events/smpte-ho…
Last reply by Jim Feeley, -
- 2 followers
- 12 replies
- 2.5k views
Just curious to know if anyone on the forum has experience with the Red Epic 2.0 fans. Are they a big improvement over the original fans? How to the compare to the Mecasax fan plate? A production I'm on has green lit a fan upgrade. Just curious which option I should recommend.
Last reply by Patrick Tresch, -
- 1 follower
- 10 replies
- 1.8k views
Last reply by jrd456, -
- 1 follower
- 7 replies
- 3.1k views
I have a shoot next week with the Red Epic. Production wants to record directly to camera via the Pro I/O Module. I would like to use the 5-Pin XLR output for return audio to my mixer. The Operation Guide on the Red website shows a non-standard pin-out for the 5-Pin XLR. Pin 1 - L+ Pin 2 - Camera Ground Pin 3 - L- Pin 4 - R+ Pin 5 - R- The standard that I am familiar with is Pin 1 being ground/shield and Pin 2 being L+. Is this a typo in the Manual or has Red made a new standard for 5 pin audio? I have tails to use the headphone output if I need to, but the 5-pin is a much neater way to come off the camera (being right next to the inputs.) Has anyone had experi…
Last reply by jrd456, -
- 37 replies
- 8.6k views
Tomorrow I have a day working with an Epic and a Scarlet and I will need to jam TC for the first time, using a 744 as master. Production are providing two ambient lockit boxes. Having read through the manuals of the 744, the lockit, the REDs and many threads here I have come up with the following: 1) Set 744T to Correct TC Frame Rate (24FPS) and TC Mode to 24 Hour Run. 2) Put batteries in Lockit. 3) Set Lockit to 24FPS (TC>24FPS) 4) Set Lockit Sync to Off - NO GENLOCK TO RED?! 5) Set Lockit to JamTC Manual/Once (GEN>JamTC>manual/once) 6) Connect Lockit + 744T > Lockit should Jam to 744T. (Cable: 5 pin lemo > 5 pin Lemo). 7) Disconnect Locki…
Last reply by petesmith, -
- 7 replies
- 1.5k views
Some time ago I had written this "one-sheet" spreadsheet for all the digital cameras I've worked with, to help me identify what the I/O was across all of them, which helped me greatly in planning workflow and making/packing the right cables. Since it is a common question, I've decided to strip some of my personal notes, and upload it to GDrive to share with anyone who would like to have a copy. You can make a copy to your GDrive, or download it as an Excel Spreadsheet and modify it as you please. https://docs.google.com/spreadsheet/ccc?key=0At6zXkYwWUhDdGFzMm5iUkJqTmVMeHcxTDdrT0NNLUE&usp=sharing Cheers, José
Last reply by Toy Robot, -
- 30 replies
- 4.9k views
Did anyone used Black magic cam , and any comment? may be consider buying one for the furture production house. Thanks your opinion.
Last reply by studiomprd, -
- 19 replies
- 1.9k views
http://www.macrumors.com/2014/03/13/apple-bayonet-lens-mount/ and i was sent an april fools about this a few years ago.
Last reply by dfisk, -
- 6 replies
- 1.4k views
Hallo. I'm syncing 2 F55's and 1 F3. I have a 788T, jamming at 23.98, and a deneke smart slate. I'd like to sync just using bnc cables off my 788T Some concerns: 1. I haven't found a 2nd "TC out" of F55 (just one bnc port - either in OR out), so I don't think I can daisychain them. 2. I've read in other posts on this website that the F3 can sync with 23.98 in, but it'll spit out 29.97, so if I'm seeing that correctly, I can't daisy chain that one either... 3. I don't have a lockitbox. I'm feeding TC from 788T, and I will Slate for safety, but I'd like to sync TC on all cams with a hard line if possible. Anybody have a thought about best way forwa…
Last reply by JCC, -
- 3 followers
- 113 replies
- 27.4k views
I wanted to touch base on some of the sound-related threads going on over on the Red User group (Reduser.net), some of which have direct applications to mixers having to deal with timecode and sound inputs to the camera. Most of these discussions apply to both the Red Epic and the Red Scarlet, which are essentially the same camera, operating at different data rates (and with a $20,000 price difference). Here are some highlights: Epic Phantom Power (which does not yet work) Random Audio Level Dropouts (said to be the fault of the bypassable limiter) Low-Level Hum with Epic (caused by groundloop issues with the camera's AC adapter) Fan Noise a Probl…
Last reply by Patrick Tresch, -
- 1 follower
- 13 replies
- 3.7k views
I am doing a short being shot on B&W 35mm using an Arri 435 next week. I am looking for thoughts, tips, ideas, etc. on how to quiet the camera down. I plan on building a blimp around the mag, and am in contact with the camera dept. who is on board to help me quiet the camera as much as possible. I welcome your thoughts. Thanks Kelsey
Last reply by studiomprd, -
- 2 replies
- 1.3k views
I know this got a lot of publicity when it happened a year or two ago, but I gotta say, the quality of the production on this little 8-minute short is phenomenal, as is the sound design: https://www.youtube.com/watch?v=dYw4meRWGd4#t=470 I'm kinda surprised they didn't put a dedicated sound recorder and mic inside his helmet to get cleaner dialogue from the jumper, but hey... it's still impressive. And it does show that sometimes, a $300 camcorder (or several of them) are useful for certain kinds of things. [Can't embed videos through either Chome or Safari for the Mac, so you'll have to just hit the link.]
Last reply by Marc Wielage, -
- 3 replies
- 1.7k views
If feeding the camera balanced 1/4 inch TRS with an unbalanced signal, should the ring and sleeve be tied together or should either one, and if so which one be left floating?
Last reply by Eric Toline, -
- 3 replies
- 1.6k views
Is the output of the Sennheiser G3 wireless receiver "hot" enough to properly drive the line level only inputs on the Alexa? I was planning on using my G3's to send a mono scratch track to the Alexa on a shoot this coming weekend. I've worked with the Alexa before, but never with a G3 receiver. Thanks, Tom
Last reply by TomBoisseau, -
- 8 replies
- 1.8k views
Does the Panasonic AG-AF100 cam change 23.978 to 29.97 when you jam it with 23.978 and if so if I set the cam to 29.97 and use 29.97 to jam it with, does it turn out the same? J.D.
Last reply by Marc Wielage, -
- 4 replies
- 1.8k views
After shooting with the Canon C300 for the past several months with a 59.97nd frame rate. I'm now working on another show with it set up for 59.94nd. I'm trying to figure out the proper frame rate setting in the 664 to jam TC? Would I use 29.97nd or 30nd Thanks for your help! Damen
Last reply by BAB414, -
- 13 replies
- 3.1k views
Need an answer to what I'm hoping is not too dumb of a question. My camera guy for these upcoming commercial shoots has sworn that he's operated his 5D with two individual tracks of audio. I don't see it being possible with just one mic input. Can it be accomplished via a splitter or a beachtek perhaps? Thanks!
Last reply by MatthewFreedAudio, -
- 2 replies
- 1.4k views
Has anyone experience with the NanoFlash recorder? Our camera department plans to use it as a recorder for Sony F3 - to get a better picture quality comparable to XDCAM 422. My first test that the audio level displayed on the LCD doesn't correspond the the level of the recorded file (!). Audio level of the recorded file is the same as the embedded level of the SDI out. What about the audio in of the NanoFlash? Manual says that it's switchable between stereo mic and mono consumer level symmetrical. Does that work well? I couldn't test it yet. They also want to use it as a recorder for Canon 5D. New 5D firmware allows a clean HDMI output, connectable to NanoFlash …
Last reply by Crussell, -
- 7 replies
- 1.8k views
If I want to plug in a 416 into the front input of a Sony 800 xd cam, do I just need a 5pin to 3 pin xlr cable to adapt it? Is it really that simple ?
Last reply by Christopher Mills, -
- 6 replies
- 1.3k views
I'm shooting an interview on a Canon 1D (primary cam) and the Panasonic P2 Varicam (secondary cam). 1D TC set to 23.98 being fed a scratch track from an erx from Nomad. Hardwire into Varicam. The Varicam is shooting at 23.98, but it is actually a pull down from 29.97. When I tried to feed it 23.98 TC from the erx, I got a warning flashing. When I switched the erx to 29.97, it took the jam fine and appears to be staying in sync. We're not rolling until after lunch so I'll check back then. My question is twofold: 1. What is happening when the erx is receiving 23.98 TC but outputting at 29.97? And 2. What will happen on the timeline when the audio files and th…
Last reply by John Blankenship, -
- 18 replies
- 5.3k views
Will the F55 accept and display ext. lock to a TC source without genlock, say from an ERX?
Last reply by studiomprd, -
- 1 follower
- 19 replies
- 2.9k views
I was recently asked to provide a reference audio track on a Red Epic (short for Epidemic). This camera emits so much RF hash that three different (model, freq, etc) recievers were swamped and could not get near this camera without interference and noise. I recommended a lead-lined helmet to the operator.
Last reply by Marc Wielage, -
- 1 follower
- 12 replies
- 5.3k views
I have a hypothetical/theoretical question about timecode. I am not asking for any practical reason, and I have no timecode enabled equipment to test this on myself. Just a curiosity. I'm pretty sure I understand the differences between timecode and genlock/sync, namely, that timecode alone does not force synchronised recording speeds between devices, it only stamps synchronised time numbers over the top of the recordings. EG, I am aware that if one jam-syncs the timecode of multiple devices at the start of shooting, then disconnects the timecode cables, after a while, the timecodes (and thus, the recordings themselves) can/will drift out of sync. But what hap…
Last reply by Marc Wielage, -
- 22 replies
- 3.5k views
Hello, Here is a litle sound test I've made to check the new Bottom fan from RED. The FanPlate is also used in this test, so people can hear the difference with and without FanPlate. Pat
Last reply by Patrick Tresch, -
- 1 follower
- 9 replies
- 2.1k views
Hi y'all One thing I've been wanting ever since I started working with reality shows and TV is an invention I don't think exists; A small focal Distance/Length (don't know what the proper word is..) viewer. It would be mounted on top of the camera like a little cube, that shows (in numbers) the focal distance or zoom amount to the persons surrounding the camera. Why? Mounting a monitor on the camera wouldn't be applicable in most productions and having it in the bag would require some sort of wireless transmission and reception.. We don't need no more of that... Anyway.. It would be a good thing since that way I can sort of know what kind of framing the camera ha…
Last reply by Wandering Ear,