Cameras... love them, hate them
- either way, we are doing "sound for picture"
398 topics in this forum
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- 4 replies
- 1.4k views
It's only a matter of time before someone asks if its possible to send sound to this camera. http://www.bbc.co.uk/news/technology-23926939
Last reply by mulluysavage, -
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http://www.dpreview.com/news/2012/01/06/NikonD4launched
Last reply by Matt Mayer, -
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- 15 replies
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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, -
- 2 followers
- 37 replies
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I did a ton of googling trying to find out how to set up multiple cameras and record multi mics to a separate recorder , that were all recording the same timecode that could be used to synch everything easily and automatically, that didn't require spending close to $1k on hardware.Why I couldn't find a single post describing the following very simple, and cost effective solution, that I would think most budget filmmakers would have figured out long ago, is confounding to meIt's quite easy.You will need the following:A computer with multitrack software. (Free version of Protools)A multichannel interface.Long, balanced 1/4" cables. (make your own) And a copy of the Horae so…
Last reply by IronFilm, -
- 1 follower
- 26 replies
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Will be helping a friend shoot a short on a 16mm camera this summer. Don't know too much about the camera at this stage but have been told it has a pilotone output for sound sync. Vaguely recall that some Nagra's had an option to record pilotone for tape recording sync purposes but assume it's irrelevant in the digital age? So will be generating timecode and recording everything on my Zaxcom Fusion and obviously will be clapping / boarding all takes with a digi-slate along with voice ident's and supply Fusion generated sound reports. Does anyone have any other suggestions regarding keeping sound sync with a 16mm camera? Unlike my Fusion's internal clock the issue …
Last reply by Wandering Ear, -
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Hi Mixers, Does anyone know about Time Code settings shooting 24p on the Canon XF305 cameras? This camera allegedly only accepts 29.97 TC, even while recording in other frame rates. The camera's manual states: "When other functions (24p) the frames value in the time code runs from 0 to 23" For other settings it runs from 0 to 29" ok I'd like my Audio TC frame rate to match the frame rate of the video files that end up in the editing room. So my plan is to cross jam the camera with a Lockit box set to 29.97ndf , but run my TC on the recorder at 23.98ndf The mystery is that I don't really know what TC the resulting video files will ultimately have. I'm just gue…
Last reply by David Silberberg, -
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I'm working on a show with two tiny Marshall car cameras that only output 30fps despite the show being 29.98DF. Does anyone know of an inexpensive, portable video converter to do this? I realize this is not a sound issue but I'm trying to help camera out (and want to make sure my files sync properly). Maybe something like one of those small Blackmagic converters?
Last reply by Bouke, -
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- 21 replies
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I am a fairly green soundie, who usually works as boom or utility. Tomorrow I will be mixing some second unit coverage on the show I am currently on. I will be using a SD 302 and 2 lectros, and a boom. I'm going directly to camera via beta snake and I have never recorded straight to camera like this before. I guess I'm just looking for any advice in general and potential problems this setup could present. Thankyou
Last reply by Marc Wielage, -
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- 41 replies
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I mostly do jobs where we record audio directly on camera. 2 channels from my mixer to camera and a stereo return feed so I know the audio is good. Now with the SD 552 being able to send 4 separate channels via AES, how are we supposed to monitor those 4 chanels? I mostly work with Sony XDCAM cameras, and it only lets you monitor 2 channels at the time, even thogh it can record 4. Are there other cameras that will let you monitor all channels? I was thinking about using the recorder in the SD 552 instead as a back up while recording 4 channels to camera, but it seems the built in recorder can only be routed to one of the AES pairs, so that wouldn't work either…
Last reply by Rasmus Wedin, -
- 3 followers
- 11 replies
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I need an answer for a question which may come up soon. Possibly up to 4 presenters on handheld stick mics, feeding 2 radio receivers on the back of an RF camera on an OB. Is it possible to feed those 4 channels into the camera (no, I don't know the camera model yet) and have them fed over the digilink via SDI, to the truck, so the audio mixer can control the levels independently? Or I give the audio assistant following the RF cameraman a simple mixer and 4 channels of radio, and have him mix them and give the camera a mono feed.
Last reply by PCMsoundie, -
http://www.blackmagicdesign.com/press/pressdetails?releaseID=38121
Last reply by studiomprd, -
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http://petapixel.com/2014/09/16/want-record-4k-video-using-iphone-999-app-will-let-just/
Last reply by VASI, -
- 37 replies
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I get a kick out of veteran assistant Evan Luzi's blog, The Black and the Blue, and his interesting insights into that side of the industry. In this recent post, Evan lists 50 things that drive his department crazy: http://www.theblacka...ings-that-suck/ Among the more interesting ones: 1. Rush Hour Call Times. 2. Shooting the rehearsal. 13. Pizza for lunch. 14. Forced call times 17. Call times that go from sunset to sunrise. 18. Booting a RED camera. Like Forrest Gump said, “you’re never know what you’re gonna get.” 20. Being blamed for in-camera sound issues. If the camera reads a clean test signal from the sound mixer, …
Last reply by Marc Wielage, -
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This was circling around on the interweb thought I would post it here. Thought it was pretty funny.
Last reply by benr, -
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Have any of you fine people tried using the composite video output from the canon eos cameras to feed monitors on your cart, if so, will doing this disable the hdmi out. I know the cameras ship with a usb to composite video (rca) output cable, so I'm hoping this works since sending HDMI over long distances (specifically over cat5) is still much more expensive than with standard deff composite.
Last reply by Nicole Hankerson, -
- 2 followers
- 43 replies
- 5.6k views
A bmc owner sent me this today:
Last reply by Richard Ragon, -
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- 5.6k views
http://www.bbc.co.uk/news/technology-16163931
Last reply by Marc Wielage, -
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using an arri mag to balance out a dslr rig
Last reply by OmahaAudio, -
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Hiya guys n gals! I've been following the development of the Aaton Penelope Delta, a 35 mm film camera. Why? Well, it's going to get a digital mag. That means it's a hybrid! It goes from film to digital and vice versa. EDIT: It would seem they've rethought the camera and just made it into one single digital camera. :/ Sad IMHO. Would've been cool to have that ability. Can't have everything I guess. Interesting camera anyhow! BUT: Another really interesting thing is that Aaton also makes the great recorder Cantar-X, and I've read in the Penelope manual that there could be some sort of link between or something like that.. Anyway it should (hopefully) mean…
Last reply by Marc Wielage, -
- 20 replies
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At IBC this year, Aaton demonstrated a functioning Delta Penelope Digital Cinema Camera. The Delta Penelope project was first announced jointly with AbelCine at NAB 2010 as a “digital mag” upgrade to the Penelope Super-35 film camera. Since then, the camera has evolved into its own complete design, featuring a CCD (as opposed to CMOS) Super-35 sensor, an optical viewfinder with spinning mirror shutter, and Aaton’s famed ergonomic “cat on the shoulder” design. http://blog.abelcine.com/2012/09/27/aaton-unveils-the-delta-penelope-camera/ Or http://johnbrawley.wordpress.com/2012/09/17/aaton-delta-penelope/
Last reply by fieldmixer, -
- 1 follower
- 52 replies
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Aaton is trigered (start/stop) with simple non stable button. I'd like trigger audio recorder same way but most use dedicated remotes. Any idea which recorders (portable) can be started/stopped with one button? I want keep setup simple as possible. Zoom is nice because record 10s earlier.
Last reply by traut, -
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I did some days with a runaround crew with the Panasonic AF100, which we tried to keep in TC sync with my rig. As someone mentioned, you have to read the manual carefully, since the process is somewhat counter-intuitive, but after a few syncs is was easy enough. It takes some getting used to the idea that the TC input is labelled as the composite video output (and that it only works as a one-time jam when the camera isn't rolling) and that the connector is an RCA female, but after that the setting was not buried too deep in menu-world. The camera loses its jam after any battery or frame rate change, so you have to be observant, but having to rejam fairly often meant th…
Last reply by mkfotos, -
Having worked with this camera for the last few months, it seems clear the camera department finds this the least objectionable of the HD systems. From my perspective, I don't run sound to it, and I had the camera house supply a pair of 1/4" to lemo jam cables so the ACs can jam the cameras from my TS3 slates, as required. The camera makes very little noise, and can roll late or cut early on multiple camera setups without making extra noise. It makes the whole thing like a film shoot for me. Only difference is the TC rate of 23.98. I love it.
Last reply by pindrop, -
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Believe it or not, the movie I am starting next week has gone back and forth on film vs. digital, and they will not make a decision until sometime next week. So, my question to all those who have worked with Alexa, I need to confirm a few things. From what I have learned so far, I should be at 48K sample rate and 23.98 tc, jam the Alexa from the main tc source (my Deva) and shoot tc slates. I imagine that I could jam a sync box (Denecke, Ambient, etc.) and put that on the camera. There is no plan to put any sound on the camera. Let me know if I have this all in the ballpark.
Last reply by johnpaul215, -
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- 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,