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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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The camera wars have just heated up... Cameramaker Red Claims Espionage Suit says rival cameramaker Arri benefitted from hacking By KAREN IDELSON Dec. 28, 2011, 3:07pm PT DAILY VARIETY In a saga worthy of a Hollywood thriller, allegations of email hacking and industrial espionage have surfaced in the camera industry in a lawsuit filed by digital camera maker Red against rival Arri. In the suit filed Dec. 21 in federal court in Orange County, Calif., Red accuses Arri of stealing technical details and development plans for Red cameras, giving Arri an unfair advantage. Much of Red's complaint rests on facts revealed in an August plea d…
Last reply by studiomprd, -
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- 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, -
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I started a long term commercial with the Weapon and I usually run sound to the camera with this production company so it outputs in the embedded SDI for VTR and Daily reasons. The first camera body went down in the first hour starting with the audio input failing, then timecode, and etc. The next body worked while we setup and did our tests in the parking lot of our next location. Right when we start rolling my VTR colleague altered me that the audio had a bunch of digital delay and artifacting then just stopped working. We rebooted both of his Wireless video systems and no change, so we just bypassed the problem by using the audio inputs on his microLite Transmitter whi…
Last reply by Philip Perkins, -
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https://www.youtube.com/watch?v=KYWiv_55kvE It looks like they changed the whole fan path, finger crossed it will be better. The sound inputs will be made with different modules. From the Tyniest one (stereo minijack) to full XLRs. Prores internal recording is also poken and Vista vision (as an option?). More infos
Last reply by Patrick Tresch, -
- 9 replies
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Hello, Just to announce that the first indication on Weapon fans are a big improovement over the Epic's one. I would push production to go with the Weapon if you have this choice. The fan noise seems less a problem now. Here a encouraging Weapon user statement: Pat
Last reply by Patrick Tresch, -
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- 47 replies
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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 show I'm currently on is shooting on Red Epic. A company was contracted to do all the transcoding and syncing. Audio not being sent to camera. I get a call that on day 2, over 20 percent of the clips are out of sync that I (sound) must fix. I called Denecke to check with them and they haven't heard of any issues. Got with the dit and scanned through clips. Everything looked good. After a few emails back and forth an issue was found with Redcine X. The latest build is having problems with one audio file is used to sync with 2 Red Clips. The post house dropped back a version and all is well. Be warned if this happens on your shoot,, Mark
Last reply by Marc Wielage, -
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I was surprised to discover today on the RedUser forum that a couple of Swiss film technicians have come up with a fix for the Red Epic fan. One of them is cameraman Patrick Tresch; the other is Jacques Sax, the founder of the famed mixer/recorder company Sonosax. The unit is basically a small $800 metal brick that bolts on top of the camera, and has a "nearly silent" fan that blows into the intake port on the back of the Epic. (Yes: a fan in front of a fan.) The idea is, this very quiet fan runs 100% of the time, and prevents the bigger fan from ramping up and going into leaf-blower mode. It looks like this: I have no idea how well it works in the re…
Last reply by Patrick Tresch, -
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Granted, the death of film has been reported pretty much every year for the last decade, and I've grown accustomed to laughing it off. But somehow, this feels like the first real nail in the proverbial coffin: http://www.salon.com/2011/10/13/r_i_p_the_movie_camera_1888_2011/singleton/ Now once Kodak and Fuji stop manufacturing celluloid...
Last reply by Ze Frias, -
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Hi folks, Just wanted to write of my experience with using a Scarlet yesterday. I know there is a lot written about the on camera audio situation with the Scarlet, but I had a that had me stumped, and I just want to see if the camera I was using had some major issue with its build or pre-amps. I have shot with most cameras, and many times on the Epic without any issue, but yesterday I just could not get clean audio into this scarlet. Mind you, it was an early model with serial # 79, and hadn't ever had a firmware upgrade. This was helping out an old friend. It was a sit down interview, and he owned the camera. So I ran tone into the camera out of my 552, via m…
Last reply by Marc Wielage, -
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- 5 replies
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Just wanted to pass this on for what help it might bring. Recently did a job with the Scarlet for the first time. Needless to say, and in their grand wisdon, Red decided to completely throw out the old Red One menu scheme and replace it with nearly a complete new one, including icon changes as well. Anyway... after realizing that the old "chain" icon for jam sync was replaced by the word "Jam" (yes, that term was reserved for another menu function on the One), we still (both myself and the AC we're stumped) couldn't get the Scarlet to take hardwired TC output from my 744T with the Scarlet as slave. IN the end, we realized that ever time the Scarlet is powered …
Last reply by Wandering Ear, -
- 10 replies
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Hello people. Pretty new here. Doing a series shot on Scarlet, and basically, I'm looking for opinions on the best way to get timecode onto the Red. Looking at going wireless from the 788. Either that or Lockits. Who's had relative success with the Scarlet? I know it's not ideal... Cheers Max
Last reply by Mark Orusa, -
- 12 replies
- 2.3k views
Greetings, I was working with a RED Scarlett today, the same one of which I've worked with a week ago with no problems, and had the audio return (monitor) go to very loud white noise. I lost jam sync as well, and it never returned. To begin, in the morning and prior to talent being on set, audio return from the camera was normal, and sync was green during camera set-up. Right before roll, the audio return goes to a very loud white noise. Audio levels on camera appear to bounce as they should, and playback of RED files has clean audio. The only change in the camera setup was the addition a HDMI video tap out of the back tightly squeezed next to the syn…
Last reply by mikewest, -
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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, -
- 29 replies
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Had a recent experience with the Canon EOS-5D Mk II that was illuminating. I generally send a wireless or cable feed as reference to the camera, just to aid in helping the assistant editor sync things up later on. After handing the camera owner/op a line-in cable and an adapter box, we were both flummoxed when he plugged in the mini-connector only to see the HDMI feed killed! I was stymied. We checked it two or three times... no go. There were some additional issues that resulted in us just killing the sound feed and going at it dual-system, with the camera recording its own scratch feed from the built-in mike. Sound was fine, under the circumstances, and I don't exp…
Last reply by Marc Wielage, -
- 13 replies
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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, -
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Just came off a gig where the 2 cameras were Ursa minis, the menus said it was set for line level, when I listened to return it was buzzing and sounded like it was clipping, I just dialed back so it didn't sound like it was clipping. I of course recorded everything, gave them a L/R feed to camera and ISO record. TC was provided to cam a via my tc snake, and cam b by tentacle and IFBlue scratch as well as using TC slate for each take. I asked several times for playback from camera as I noticed returns had a bad buzz, DP said don't worry, just make sure you record everything in your mixer! Anyone else have issues with the URSA Mini?
Last reply by Jason Walle, -
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Okay so i m on a shoot today with a 5d camera. Commercial work with no video assist guy. I d like to send scratch feed to 5d to get okay sound for playback in hdmi monitor speaker. Try plugging my erx with standard 1/8" stereo jack cable sending tone and camera stays on camera mic? Tried switching cable, tried switching to a g2. Made sure i was plugged into mic input (not video output plug duh) on camera. It seems like camera doesnt get that there is something plugged. It always stays on camera mic no matter what i do or plug in mic plug? Am i missing something here? Is camera jack just busted? Thanks!
Last reply by studiomprd, -
- 8 replies
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just started a shoot on epic and planned to send a scratch for dailies wireless to the cam. it turns out that its quite impossible to get a clean signal onto the cam because of rf trouble. the attached receiver displays a heavy rf signal as soon as the cam is switched on and the receiver comes close to the red. massive blasts of noise all over...... director, script etc get the same feed and their signal is clean. coming from a shoot with alexa, where the same setup worked without problems. just wanted to know if someone of you experienced something similar or succeeded in operating receivers on the epic best m
Last reply by mateuf, -
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Hi all, I have been asked to do sound on a 5D shoot. - Mk2 or Mk3 (TBD). - Sometimes a pair of 5Ds. - It is documentary. - We will shoot in Armenia. - No post house on board yet. - Editor not yet confirmed. - Likely to stay like that until we return from Armenia. - First production meeting Saturday. I have some obvious concerns about sync. - I have only one Lockit. - My pair of Tentacle Sync boxes might not arrive by then. So plan is: ERX on each 5D; - 5D Left track - scratch mix (for PluralEyes) - 5D Right track - TC (for AuxTC Reader) For the interviews this seems fine (they will be boarded) For the event coverage (marches, concert etc) w…
Last reply by David Silberberg, -
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Simultaneously shooting movies whist fighting climate change!
Last reply by Mark Farag, -
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There's a new documentary produced and hosted by actor Keanu Reeves, and it presents an interesting history and arguments about how digital has replaced film for production and distribution over the past 10-12 years. The trailer is here: I found it to be a very well-balanced, objective, intelligent discussion of the various issues involved, neither for the digital side nor for the film side. The pro-digital crowd is represented by people like David Fincher and Jim Cameron, and the film side is argued passionately by Chris Nolan and Wally Pfister (among others), while filmmakers like Martin Scorcese take the middle ground. Pretty much everybody agree…
Last reply by Brian Liston, -
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- 6 replies
- 963 views
I'm looking for a small plate or holder that will help me mount a TC box (I have Denecke JB-1s and Tentacles) or perhaps a G3-sized RX to camera cages/plates 1/4-inch and/or 3/8-inch mounts. There is a bracket made for Tentacle Sync Es, but Denecke didn't have any recommendations. So I turn to all of you: What do you use to mount TC boxes (especially) to cameras besides velcro and such? There's this bracket made by Lanparte for Tentacle Sync E. Sizing is a smidge different from JB-1 sizing. But does anyone have first-hand knowledge on if you can wedge a JB-1 into this? https://shop.tentaclesync.com/product/sync-e-bracket-by-lanparte/ …
Last reply by Paul F, -
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As of right now, I'm syncing all my audio the ARRI Alexa Classic with the time code boxes by Tentacle, which works perfect. Just wondering in conjunction with this, I could possibly get a crappy little scratch audio track into camera as I still get this requested by the editor. I've sent wireless audio to camera with a hop before and that works great, but I'm also trying to think of a way to get a tiny little mic on camera, but bring it to line level to that the Alexa can actually record it. I have an MM-1 but that's still bigger than I'm hoping to go. If anyone knows of a cheap little preamp, doesn't have to be professional, just something that would work tempora…
Last reply by Gerard-NYNY, -
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Hi there, I'm about to start a long running shoot for a documentary. The production've decided to go with 2 Sony A7s II with ninja flame recorder. I've researched both the net and the manuals of the camera/ninja and can't find a definite answer to my question - Is there a way to jam, input or output timecode from this camera set up? I'm using SD633, sending a scratch track mix to the camera using Senn G3. Time code wise - I was planning to buy Tentacle box and use it to jam my 633, then put it on the camera/recorder, as a TC generator. I could record TC on an audio track on camera, using tentacle, but then i cant feed the camera with my ref mix through Senn rece…
Last reply by Bartek Baranowski,
