Cameras... love them, hate them
- either way, we are doing "sound for picture"
398 topics in this forum
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Hey all, First for everything but I ran into a situation a few weeks ago where for the life of me could not jam the Red Epic. We tried two different sync boxes and two different cables. One of the cables was the 3 coloured BNC deal (yes we used the yellow one for timecode sync) and one was made by a reputable company that deals with Location Audio Products. Nothing. No green light on the TC . Someone else been running into this? The guy who owned the camera just shrugged and said he had just updated the software.. B
Last reply by Nate C, -
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Chater Camera, a local NorCal rental house, just posted a picture of a Pro I/O module that they received. To refresh our memory, Red says: ----- For advanced configurations, the PRO I/O MODULE attaches to the rear of your DSMC brain to provide a central hub for essential I/O connections. Professional I/O support for audio and video is critical for large productions and the PRO I/O MODULE bundles them conveniently into one compact DSMC module. Connections Include: 1x Genlock / PGM / Preview (BNC) 1x AES 2x 3-Pin XLR Input 1x 5-Pin XLR Output 1x Timecode (5-Pin Lemo) 1x GPIO (4-Pin Lemo) 1x Power (4-Pin Lemo) 1x AUX (10-Pin Lemo) 1x LCD/EVF Outp…
Last reply by Marc Wielage, -
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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, -
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Hey all, Does the touch monitor for the epic have an inherent 2 frame delay? While jamming the camera, I noticed the slate was reaching the next second slightly before the TC display on camera, while the jam cable was in. So I took a picture of the slate and the TC on the display, and sure enough the Epic was 2 frames behind the even while the jam cable was plugged in. This is the first day of the show so I can not yet check any footage afterwards to see if the sync is off. And if all else fails and there is a delay, then I'll just write a note explaining it needs to be moved 2 frames. Camera and production knows, and it's not really an issue, it's more for my educati…
Last reply by Srgtfury, -
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We had a second unit day yesterday and the cameraman turned up with a brand new Red Epic. The alleged time code in was a 4 pin Lemo. I thought that time code standard was 5 pin. Anyone come across this 4 pin version? Malcolm Davies. A.m.p.s. p.s. IMHO it may be a brand new model but still a sac de merde. The noise of the fan was unbelievable.
Last reply by studiomprd, -
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I was asked to setup an Epic to jam sync to external timecode from a slate today. The timecode source menu was switched to external and the incoming timecode was verified by a green highlighted "TC" element in the main display. The timecode appeared to auto jam correctly as the Epic timecode numbers continued to count correctly after the external timecode was disconnected. What seems odd is that the manual says the camera can be placed in "Jam Sync mode" and there is a "SYNC" (Jam Sync) element on the main display but there is no description of how this actually works or under what conditions the "SYNC" element would be highlighted. Firmware 2.0.5 (current versi…
Last reply by John Blankenship, -
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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, -
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Hi all, Wondering which version of RED's bottom fan might impact recordings of the human voice the least, or which might be most transparently removable in post. Has anyone run noise reduction (RX or Audition) specifically on dialogue, both with Bottom Fan 1.0 and 2.0? I've heard that fan 1.0 has broad-spectrum white/brown style noise. And fan 2.0 has noise that's more distinct and more localized to certain frequency bands. Anyone compare the results after removing either type of noise? Is one cleaner to remove than the other? Thanks!
Last reply by Kaan A, -
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This could be a handy solution to all our interface challenges with these cameras. Price not too bad either- $ 135 http://www.markertek...a/RD1-BX3.xhtml
Last reply by Marc Wielage, -
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The camera operator, sitting on the dolly next to his Red camera in 'idle' mode (fans roaring) said "Can we turn this ^%$# thing off, I cant hear the director!" Classic. Now I know how soundguys felt 60 years ago.
Last reply by Marc Wielage, -
Guys, shooting a series. Director insist on whispering actors... And it's a goddam Red!!!! Fan is killing me!! Anybody knows the setup on a red Scarlett dragon for the fan. Right now it's on adaptive preview and quiet recording... And it ain't quiet on recording!!!! Thanks Pascal Sent from my iPhone using Tapatalk
Last reply by IronFilm, -
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I know this issue has probably been discussed a lot but I just finished a shoot with the NFL Network and the DP was using a red scarlet. We were in an empty stadium on a hot day so they couldn’t turn the fan down, but it was legitimately louder than the street noise from where I was at. Plus we set up next to the wall along the field so there was some odd reflection and comb filtering happening. I was able to tilt my 416 in a place where it cut down on a lot of it but still not ideal. Anyway, we’re going back to the stadium on game day and probably at least going to have one lav out. With all of the different production and wireless units at an nfl game in th…
Last reply by Philip Perkins, -
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Can I jam a Red Gemini from a TR-2 slate and what is the time code input jack on this camera so I can get the appropriate cable? Thanks Mick
Last reply by IronFilm, -
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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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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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RED Meizler Module Wireless audio to RED named after a camera assistant? God help us? http://www.red.com/store/products/meizler-module
Last reply by Marc Wielage, -
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Had such a funny day today. Did a commercial for a pet food and they used a RED ONE and an EPIC as well as a bunch of GOPROS. Well, when shooting with cats and dogs you have an animal handler calling out all kinds of commands. Didn't know that...not sure if producer did. But the approach was to put a mic directly on camera, jamsync their TC and let them rove and go back and record wild sounds of anything we could (only sound I recorded all day was a dog drinking from a toilet LOL). So, I synced the EPIC no problem but could not get the sound to work no matter what I did. I tried running direct out of my Nomad to it, hopping, condenser mic, dynamic mic...nothing! The R…
Last reply by Marc Wielage, -
- 2 replies
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Making a breakaway end for a RED ONE(2x TA3M send/TA5M return) for my Nomad. Thought it would be simple but as with most things RED: http://www.reduser.net/forum/showthread.php?55673-TA5-to-mini-jack Downloaded the manual... not a whole lot in there. Looks like there will be some poking around involved...
Last reply by mastermixaudiomedia, -
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Maybe slashing their prices hasn't worked. Now Red want new Sony F series cameras destroyed... http://www.hdwarrior.co.uk/2013/02/15/red-plans-to-sue-sony-over-patients/ This will be interesting.
Last reply by Chris Woodcock, -
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Starting a project with Red Scarlet next month. Plannng to use Ambient clockit for camera. red store has adaptor cable with 3 BNCs and a (what appears to be) 4 pin Lemo. Anybody have any sources for a 5pin Lemo to 4 pin Lemo cable to connect clockit to Scarlet, or is this a custom part? don't need GPI trigger/ genclock on this project. Any experience with the Red branded cable? Chris Newton
Last reply by Freeheel, -
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Hello! Yesterday I did a shoot with Red Scarlet. I tried to jam the scarlet with my 633, but it would not jam. I set the 633 to free run, and went into setting->TC and set it to "brain", but it would not jam. I dident find the different TC setting rec run, free run etc. Can anyone tell me what I did wrong? Thanks.
Last reply by Marc Wielage, -
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Current project we are shooting master interviews on the Red Scarlet. I'm sure the pictures are good but what an awkward thing it is. From sound POV no real big problems as I'm recording on 788. Timecode has received no complaints from post.
Last reply by Marc Wielage, -
- 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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It appears that Red and Arri have settled their spat http://www.engadget.com/2013/03/04/red-digital-cinema-settles-with-arri-email-hacking/ Regards Chris Sent from my Nexus 4 using Tapatalk 2
Last reply by Marc Wielage, -
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Just got off another RED shoot (Scarlet, this time) and I've finally had it. It's not that it's the camera's fault - The problem is that morons can afford to shoot on RED. Obviously RED has some serious shortcomings with sound, but they're cameras - They're not audio recorders. Good productions understand this, but many productions don't. I thought I would share some experiences of when RED problems have become my fault. 1) RED One MX audio error: Not too long ago i worked on a short shot on a RED MX. I had NOTHING to do with the camera - no timecode and no sound to camera. Along the way, the camera started shutting down due to "audio errors." Turns ou…
Last reply by studiomprd,
