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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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- 4 replies
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Last reply by Rick Albright, -
- 4 replies
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Am about to do feature that may use the new DXL2 camera, it has the Red 8k sensor but they have a much upgraded cooling system so hopefully less problematic. Any user reviews re noise and workflow, audio/tc inputs etc, will be feeding audio and TC from zax ERX. Thanks, Chris.
Last reply by cjh, -
https://support.red.com/hc/en-us/articles/360001379467 The sheer utter madness of it all!! Just plain weird. Maybe RED should post out free little stickers to every owner to "correct" the labeling on their RED cameras!
Last reply by Johnny Karlsson, -
- 11 replies
- 6.2k views
A quick anecdote: I recently did a reshoot for a film using two Red Heliums (they said the 8K was mandatory). The fans, even at their lowest settings, made everything on the booms unusable. Once that was clear to everyone and they decided to max out the fans anyway, the cameras were still overheating and would cut after about 8 minutes, not long enough for the takes we were doing. They had to bring the cameras outside the stage to cool down. Anyone ever hear of anything like this with the Helium? Camera department tried everything to no avail.
Last reply by chrismedr, -
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- 17 replies
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I am working with a new camera next week... Does anyone have any experience doing a timecode synch with a C100?? What cable is needed? I will be using a SD633 a TIG Q28 to synch Thank you !
Last reply by Constantin, -
- 1 follower
- 10 replies
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Question.... when I do a direct feed via a snake from the mixer to the camera, what is actually recorded to the camera ? Is it the mix or are any iso tracks recorded ??
Last reply by Dalton Patterson, -
- 8 replies
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Hey everyone, I hate these kind of posts, but here I am in a Mexican hotel room with a camera that's not co-operating. Panasonic EVA-1 is shooting PAL, is in 25fps (on speed and recording audio), but is locked in record run and won't take a timecode jam from my tentacle. The menu item that allows you to switch from free run to rec run is greyed out and un-selectable. Anyone used this camera before? I've been through every menu setting and nothing has allowed me access to freerun. Thoughts? Thanks in advance. Parker Got it! Turns out the below setting must be OFF. Camera settings/fps/vfr sw - OFF/ON Hope this can …
Last reply by IronFilm, -
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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, -
- 1 follower
- 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, -
- 9 replies
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What dB pad is right to use with a mini XLR to XLR cable for the original RED ONE? As it appears the original RED ONEs (later RED ONEs had this fixed) had an issue that audio in would distort, so RED would sell cables with a built in pad. But I can't find info anywhere as to exactly what specs that cable had. (my friend with the REDs owns one of these original cables from RED, however it has no markings whatsoever as to what strength dB the pad in the cable is. And we need four of these cables, but he only owns one) My plan for him was he should buy the Laird TA3M Mini XLR to Female 3-Pin XLR cable for a RED ONE (but this cable is for the latest generation RED O…
Last reply by IronFilm, -
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Update to gh5 that incorporates TC I/O: Another feature that will entice serious videographers is the GH5S’s Timecode In/Out compatibility, which is easy to set using the flash sync terminal and bundled coaxial cable for a BNC terminal. The camera can be used as a Timecode generator for other GH5S models and professional camcorders, and the functionality makes multi-camera productions pain-free by instantly synchronising recordings to other cameras or audio devices. Read more at http://www.trustedreviews.com/reviews/panasonic-gh5s#kwMYVDH32GOMFW4q.99 :
Last reply by IronFilm, -
- 1 follower
- 6 replies
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Dear all, we're going to shoot in kind of extreme environmental conditions in the next months. So perhaps you can help me. How do you decide which camera to use? At which criterias/parameters are you looking at? In most data sheets I can only find the paramters temperature and humidity. What about dust and rain protection(I can't really find IP-classes or stuff like that)? And also when it comes to transport and storage. I'm thinking about really hot temperatures in a car or damaged streets so that the camera get's shaked a lot. Did you ever had problems with stuff like acid rain in industrial places? What abut going from warm into cold places and vi…
Last reply by bilagaana, -
- 1 follower
- 6 replies
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Dear All I'm following this group as a guest since long time, and this is my first post, and I'm quite shaking because for me is agraria thing to be part of this milestone group. Now I like to know if anyone of you have experienced this new Tilta extension for Red Weapon. I know Red are quite discussed noisy cameras, but this Tilta device I have on set right now is killing me. This device has a no controllable fan that is totally separated by the camera body. I wrote a repairs to my production company and the answer was "you are the first one complaining for this brand new device" i have recordings that I can upload if is necessary, but my que…
Last reply by Patrick Tresch, -
- 1 follower
- 47 replies
- 10k views
Hey Friends, First post here. Just have a quick question regarding an audio issue on the Red Weapon 8K camera. Got an email this morning from the DP saying there's weird signal noise over the scratch track on the footage. We were shooting 23.98, I jammed with a Denecke lockit and was using a Sound Device 788t recorder for the project. I had 1 UCR411a hop on the Red sending a mono-feed/scratch-track to Ch-1 and was sending mic level to the camera. Basically what it sounds like is that the Timecode signal itself was being ingested into the audio/scratch track. I'm wondering if this is an internal setting on the Red Weapon 8K, or if anyone has experie…
Last reply by Philip Perkins, -
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The Arri Amira has 2 AES inputs both stereo. If I wire up the TA5 output on the QRX to a single XLR and switch to AES input on the amira, can I have 2 separate talent tx's going direct to the QRX and have it feed to the single input B (aes mode) on the Amira on ISO tracks? Or is this only possible if it's a stereo hop from a bag. My other option is to use the 2 analog ins, or 2 separate AES ins, or wire up a TA5 to 5 pin XLR. Be cool if I can go direct from 2 talent to the RX, and have both feed into the single AES input.
Last reply by Prahlad Strickland, -
- 7 replies
- 2k views
Yesterday I boom opped a commercial that had the strangest interference occurring over with wireless systems. It was a faint, fast, rhythmic rumble. It took the mixer and I all day to figure out the problem. Luckily the boom was clean, but it damn near drove us nuts trying to figure it out. We changed frequencies about a dozen times, which seemed to help in the short term, but right when we went for a take the sound persisted. We swapped it cables, and several other 'fixes'. Heck we even wondered if it was the boom acting as some kind of antenna because it would coincide when I raised my boom up for a take. Turns out it was the camera's range finding system! They were…
Last reply by Philipp Sehling, -
- 4 replies
- 2.5k views
Hi There Just wondering have any one experience this error message from Alexa sxt(latest firm ware) running 3.4k raw file. Picture attached below.any way to work around it. Thank you Wp
Last reply by Manii, -
- 8 replies
- 1.8k views
I've searched this forum and haven't seen anything related to this so I hope others can help. I"ve worked on a couple jobs with FS7's recently where my return from the camera seems to be noisy. Once it was a clicking noise and another time a hum and now it sounds like time code. When I plug my headphone directly into the camera, it's clean, no noise. On all three shoots it's been an onboard monitor that seems to cause the problem. I haven't heard anything from post. Has anyone else experienced this, and did you do anything to solve the problem? Would it help to replace my mini return cable? I appreciate any advice. Marla
Last reply by Marla Hettinger, -
- 2 followers
- 9 replies
- 5.8k views
Just worked with one of these last week and pleasantly surprised that this has a 5 pin Lemo in and seems to hold time code surprisingly well! Had no chance to explore the audio section but this seems to be a solid step up from the Dragon and from the Alexa mini for that matter.
Last reply by Michael Manzke, -
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- 1.5k views
Shooting with this today. It's been a while. I'm just disappointed that they didn't ask me to bring in a Nagra!
Last reply by bilagaana, -
- 2 followers
- 8 replies
- 2.2k views
Interference between different radio frequencies can be a time-consuming issue for camera crews. The ARRI Wireless Video System eliminates this issue because it works harmoniously with ALEXA SXT W’s other radio-based offerings: the WiFi and the ECS, ARRI’s proprietary camera and lens control system. Since ARRI now fulfills all wireless requirements, crews can be sure there won’t be any problems on set. The high-quality video feeds from the ALEXA SXT W and stand-alone transmitters are long-range, uncompressed, and encrypted for safety. Audio, timecode, and REC flag are included in the zero-delay signal, and up to four receivers can be used per transmitter. More: http:…
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Last reply by RPSharman, -
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- 1.1k views
Just purchased a new GH5 with the Panasonic XLR audio unit for small projects. Was encouraged to see a small semi-decent XLR unit come to the market. Although I've used bigger sounds kits on large sets etc. Will use this for small run and gun projects with a 416 and G3/cos11 wireless.
Last reply by churious, -
- 13 replies
- 5k 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, -
- 7 replies
- 2.7k views
Starting a job tomorrow with the URSA Mini and went to do a quick audio and timecode test and found a couple of problems and just wondered if anyone can help or advise? The first thing I noticed is that when the camera is switched to line level on the camera inputs the audio gain on the camera appears to be fixed and with my Zaxcom link plugged in the line up level seems to be a little on the low side on the camera. Does anyone know of any way of disabling this fixed audio level when coming in at line level? I saw on a previous post on JWS that it is in fact fixed, but why would this be. When the camera has its inputs set to mic level the audio levels can be f…
Last reply by IronFilm, -
- 18 replies
- 7.1k views
As Alexas, Alexa Minis and Amiras can Genlock or sync from the incoming timecode stream, they can be genlocked to a Tentacle Sync box just as they would any other brand. I'm wondering if anyone has experience doing this successfully as I have a gimbal cam operator who'd prefer one, but a client who's a little unsure of the tiny Tentacles, and I have no direct experience with syncing from it. We can't get the cameras in advance for a meaningful test. These are long-take concert recordings where sync is required to reduce TC drift.
Last reply by PRSoundCrew,
