Cameras... love them, hate them
- either way, we are doing "sound for picture"
398 topics in this forum
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- 16 replies
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Guys, i did a search and could not find info on this. I have a shoot coming up and we are doing double system. 788/CL8 sending a scratch track via Comtek to Red scarlett ( proper line to mic cable ). Also there is going to be a Denecke SB3 on the Red Jamsynced from my 788. The question: THey want to shoot at 24fps. What framerate do i set the 788 and SB3 at? Called Red and when i ask them they say that there 24fps setting is a true 24fps not a fake one using 23.98 like many other mfg. Can't get to the camera before starting the shoot. Any help please? THanks Pascal
Last reply by John Blankenship, -
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- 16 replies
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Here's a lame feature of the Sony Venice that the Sound Department should know about. Timecode can be input at the BNC TC-in, but cannot be output there (What was TC-I/O on 5/55 is IN only)) Timecode Out is available at the AUX 5P Lemo which looks like ARRI/Ambient Lemo std 5P, BUT TC In is not connected at the Lemo 5P., so if you were expecting to lock Venice TC via the Lemo 5P~~~~ As Tony Soprano used to say: "Fugettaboutitt" As a tribute to the Italian roots of the "Venice" can we nickname the camera "The Sony Bennett"
Last reply by Pajol, -
- 15 replies
- 7.6k views
Hi Everyone, Noticing an issue with with my Canon 7D internal "in-camera" audio. I would like to use Pluraleyes to do the syncing and have found it works well matching scratch camera audio to external audio recorder tracks. However, the problem lies in the fact that the Canon 7d's "internal" audio from the camera's own mic is not truly in sync with it's own in-camera video. The audio comes in 1-2 frames before the picture. I shot 1920 x 1080 footage at 24p (internal camera settings) with the internal camera audio at it's 48kHz default. I shot a handclap to camera (no external audio at all) and then view the clip it on the FCP timeline : the audio de…
Last reply by lutzray, -
- 15 replies
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Anyone worked with one? I did yesterday and neither myself or the cam-op could figure out how to display large audio meters. The small meters in the bottom are of little use, no idea what the white mark is meant to be (-12dbfs maybe?). I assume the red mark is 0dbfs.
Last reply by Abe Dolinger, -
- 15 replies
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Hello guys, I'm Daniel, a sound mixer from Germany and iam quite often in this forum, because the answers you get here are always very useful. Thanks to Jeff for making this forum possible! I will have a 2x90min shooting for TV next month, using an Alexa (no problems here) and a BlackMagic Cinema Camera. The DOP wants to use the Blackmagic together with a gimbal stabilizer. Because a gimbal uses Motors to stabilize the camera I wanted to know if anyone of you could tell me about the noise a gimbal usually creates. Is it a problem to record clean audio when a gimbal is on set? I know, there are different types of gimbals but I don't know yet, wich one will be used. I'd l…
Last reply by IronFilm, -
- 15 replies
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Did some research here and found some posts on this. But if I recall, all were rather old. Hence my starting the topic up again. Need to know what solutions currently work best for sending a wireless hop to the Alexa for a scratch audio reference track. Presently, I have some older Lectro UCR100's which would seem ideal for this purpose. Can anyone tell me whether they have tried using these units with the Alexa? And what success or pitfalls they have encountered? Also, if these units will do the job, can you tell me the wiring scheme from the 3.5mm UCR100 Out to the 5-Pin XLR In? Finally, as a backup, I have Comtek PR-72b's available should that be consi…
Last reply by studiomprd, -
- 15 replies
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I mentioned the Panasonic Lumix GH2 in the Alexa thread, and a number of other sound people chimed in about being happy GH2 owners as well, so I thought it deserved its own thread. It says a lot to me that so many sound people are buying a camera with a sub-mini 2.5mm audio input. It was a big metal leap for me to convince myself to buy a camera with such a tiny audio input, but I'm glad I did. This camera is a lot smaller than most HDSLR's, and the video image is just as good, and in many respects, far better than even the steepest competition. The only thing that I've grown not to like is the 2x crop factor. Someday I'd love to bump up to a full-sized sensor…
Last reply by Marc Wielage, -
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- 15 replies
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I am shooting with a C300, yet again. Producer wants 30fps. Is the camera doing a true 30fps? Should I set my 788 to 30 or 29.97ndf? Thank you.
Last reply by Boomboom, -
- 1 follower
- 15 replies
- 5.4k views
Hey guys! After an afternoon of testing I wanted to share some settings that worked well with a BlackMagic Pocket Cinema Camera in various scenarios. I have one done right now and I'll hopefully get more time to sort out the others. Scenario 1: BMPCC + Tascam DR-60D To get a good signal out of the pair you need to use the following settings: DR-60D: 1. Use the Line Out instead of the Camera Out. The hotter signal works much, much better with the BMPCC. 2. Crank the Line Out level to 10. BMPCC: 1. Set the input level to Line. 2. Adjust inputs 1 & 2 to 15%. That should give you a proper connection between the two. You'll have to do some more setting up …
Last reply by chrisnewton, -
f55 tc issue
by LC21- 1 follower
- 15 replies
- 3.1k views
hey all. Currently shooting on an f55 at 24 fps. jamming from a 664 (on 24hr run) via an acl 203 lockit. camera tc settings are: ext preset, free run and external source pops as soon as the lockit is connected. post says that my separately recorded sound is ahead of 1 frame on every clip. am I missing anything here? Thanks.
Last reply by Armin Siegwarth, -
- 15 replies
- 2.1k views
using an arri mag to balance out a dslr rig
Last reply by OmahaAudio, -
- 1 follower
- 15 replies
- 4.4k views
4ch audio http://cpn.canon-europe.com/content/news/the_new_eos_c300_mark_ii_revealed.do Sent from my iPhone using Tapatalk 2
Last reply by IronFilm, -
- 14 replies
- 2k views
http://www.petapixel.com/2012/03/13/digital-bolex-d16-raw-2k-video-for-the-price-of-a-dslr/
Last reply by Boomboom, -
- 14 replies
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For those who have done a lot of multiple camera shoots, what is the general consensus of the best way to link 3 Sony PMW-350K cameras if I don't have tri-level sync? 1. Feed the first camera with my timecode (SB2a -- just timecode, no tri-level sync) and from there each camera feeds the succeeding one with both timecode and sync signal. 2. Let the first camera be the sync master, feed the others as above and feed the timecode out from the last camera to my Deva. Is there any danger in #1 above, as all three cameras will be locked with each other, or is there is there a chance that feeding the first camera just timecode could cause an issue? It seems to me th…
Last reply by cmassey, -
- 3 followers
- 14 replies
- 3.1k views
Hello all. Recently I had a gig with 2 C300s which I was jamming via a zaxcom TRX900CL feeding two RX200. The cameras picked up the my timecode no problem but the letter next to the timecode in the camera display was changing from 'E' (External - my timecode) to 'F' (Freerun or the camera's internal time code) every second or two. Visually the timecode looked to be running fine. Everything was set to 23.98 and I don't think the problem was related to reception. Any thoughts or insights int this would be appreciated.
Last reply by Ontariosound, -
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- 14 replies
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Arri has finally introduced a 4K version of their popular Alexa camera. Note they are quoting the exact same specs for audio and timecode as the original Alexa cameras. And for sound, note the noise levels: Sound level ≤ 20 db(A) while recording LF Open Gate ProRes 4.5 K 4444 @ 30 fps and ≤ +30° Celsius (≤ +86° Fahrenheit), measured 1 m/3 feet in front of the lens Industry reports have it that Arri finally yielded to requests from users who needed to provide original programming to Netflix, Amazon, and other services that demand 4K (or better) material. Details here: https://www.arri.com/largeformat/
Last reply by Patrick Tresch, -
- 1 follower
- 14 replies
- 4.3k views
I was cabled up to a Sony F55 today, and realized near the end of a long day that despite hearing a consistent and good return monitoring signal, movement in the camera's audio meters had ceased at some point in the last hour. We confirmed via last clip playback that the camera had stopped recording audio, even while continuing to allow for a good return path (to a Sound Devices 322 mixer). How could this be possible, and has anyone else encountered this deadly malfunction? We went through trouble shooting, even as other crews were breaking down, and used another available camera to verify that everything in my audio package was normal. I have had…
Last reply by chris_bollard, -
- 14 replies
- 1.6k views
4000$ Red One body http://www.red.com/s.../red-one-ssd-bt http://www.reduser.net/forum/showthread.php?88074-Attitude-adjustment
Last reply by Marc Wielage, -
- 14 replies
- 2.1k views
The JWS Canon C300 Audio thread had a lot of great info. I've worked with the camera before on a commercial. The camera was set to Time of Day free run. I jammed my recorder and slate from the Canon, but timecode had some drift. (Maybe 24 was really 23.98 and the AC and I were not aware of the "24 is 24" issue???) I have a shoot coming up with a C300 with my new Timecode Buddy system. Since there is no 12V tap on the C300 (unless they have a V mount and D-Tap), looks like I'd have to have the TC Buddy master unit on the camera (velcro'd to some gaffer taped adapter plate on the back of the flimsy LCD monitor). Looks like I'd send TC to the tx unit from the recorder …
Last reply by Armin Siegwarth, -
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- 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, -
- 1 follower
- 13 replies
- 8.4k views
Hey all, Getting into timecode and worried about whether I'm totally #$@%i@ things up or not. Followed and what a few mixers have told me (and searching on JW a bit) have told me that I could jam from the recorder to the camera and that it should be fine. Without a lockit box. However, the Alexa manual is kind of brief and doesn't mention this particular activity of the timecode. What I want to know is what the blinking Alexa TC means. After I jam from the recorder it (it being the TC numbers/digits) stays solid for awhile, but then goes back to blinking again. This recent production with the Alexa also had a lockit box, and when I used it it would…
Last reply by Andrew Rowe, -
- 13 replies
- 3k 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, -
- 13 replies
- 4.9k views
Hi, I'm building up my prod sound experience and have a one-day doc shoot tomorrow in which I am doing two things new to me: - providing TC to the camera - sending a mix output from the recorder to the camera I'm feeding 3 lectro radio mics and a boom into a SD442, and then iso'd mics and a mix into a zoom F8. I've checked the JW posts and have gotten useful info; this is what I plan to do: 1. I'm renting a tentacle sync and plan to jam sync the F8, and the Amira via BNC in 2. I'm renting a lectro SRC receiver with two LT transmitters, outputting from the f8 to the Amira ch. 1 and 2, mic level in Any info re: un…
Last reply by backfocus, -
- 1 follower
- 13 replies
- 2.2k views
Has anyone successfully run LTC into a GoPro Hero 7? It works with no issues on a Hero 3, but I can't get usable LTC to timecode on the 7. I've tried with Davinci Resolve as well as the demo of LTConvert. If I record raw audio on the Hero 7 LTConvert finds the correct timecode in the audio file, but not in the video file. I know about the Syncbac Pro, but I don't want to buy one because: I already have a couple UltraSync Ones. I don't need to shoot with a GoPro enough to warrant the expense. The Syncbac for the H7 only works with the H7; there's some issue why it won't work with the H8 and who knows if that will be resolved. It's…
Last reply by Bouke, -
- 2 followers
- 13 replies
- 2.2k views
Buenos Morning! On set with 2 Epics this AM and have a question about jamming: Last week I jammed these same two cameras (at that time were 3.00 and 2.79 I believe, today both at 3.00), from an SB-3 that was jammed by my 744t at free run 23.976. That week I used cam dept's BNC cable out of the SB-3 into the Epic synch jack via lemo 4 pin. When the Epic wouldnt jam immediately, Cam Op uses his "trick" of unplugging lemo from sych jack, plugs into control jack, then back into synch jack and Epic then jams. We test, DIT gives a thumbs up, and post has no synch difficulties. This week, new Cam Op says he doesnt like old Cam Ops method, feels the issue is with t…
Last reply by Wandering Ear,