Cameras... love them, hate them
- either way, we are doing "sound for picture"
398 topics in this forum
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- 2 followers
- 16 replies
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Hey everyone. I'm currently on a production with a Red One camera and am having some trouble jamming Timecode directly from the 788t. It's one of my first projects with timecode so I'm very aware that it could be my fault. The 788 is in 24 Hour run. Red settings: Sync OFF, Output OFF, Cross OFF. I am first plugging the machines together but I can't see any timecode input in the 788 without first hitting the output option on the Red. After doing that I am able to jam it and I get a little yellow link icon up the top of the Red's display. At first I thought the battle was won but checking the TC on the display indicates it's off from the 788 by 1 hr 20 mins.. Any and …
Last reply by John Blankenship, -
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- 13 replies
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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, -
- 25 replies
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I stopped by the RED booth at NAB a couple times to inquire. But the dudes behind the counter didn't have many specifics. Here's a picture of the REDLINK products: I'm particularly curious about REDSYNC MASTER. IIRC, the minimal info on red.com remains the same from a while ago: ===== With the REDsync Master, your cameras will all be synchronized wirelessly to reduce clutter and improve efficiency. Send wireless timecode and audio to one or more Meizler-connected DSMC brains, without worrying about excess cables or timecode drift slowing your shoot down. With the ability to genlock and start/stop multiple cameras all at once, REDsync Master delivers th…
Last reply by Carlos Corral, -
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"What is IRIG-B? The IRIG-B time code is used in military, government, power industry, and many other commercial and industrial applications to ensure precise time synchronization. " I know there was a timecode box with a kickstarter or indiegogo that was timecode.io or something for GPS UTP time autoset to SMPTE TC OUT that never made the product as was not funded. With cheap TCXO boxes like Diety and Tentacle perhaps we won't really see it in the field for film and TV. Has anyone worked with the Phantom VEO model cameras and used IRIG-B timecode instead of SMPTE? Was it fed from a GPS receiver at all? Even if shooting at 24fps not high speed? Phantom …
Last reply by Bouke, -
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- 14 replies
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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, -
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Ikegami and ARRI Introduce the HDK-97 ARRI Broadcast Production Camera with Digital Cinema Image Quality A powerful marriage of technology between two recognized industry leaders, the HDK-97ARRI is a broadcast-style production camera with digital cinema characteristics. In a significant development, the HDK-97ARRI makes it possible to employ a large format sensor in multiple camera operation. The result is a “best of both worlds” image acquisition system ideal for use in multi-camera studio and field applications, including conventional broadcast camera operation and classic video operator control of multiple cameras. Broadcasters and content producers will b…
Last reply by VASI, -
- 25 replies
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Anybody work with these? According to the web (cameramen) blogs they are quiet. I would be grateful for any shared experience. Here's the quote: "The SR3 Advanced had a noise specification of between 20 dbA and 22 dbA. The 416 has a noise specification of below 20 dbA. This was accomplished by using rubber insulators to hold the camera body's inner skeleton and by having the internal skeleton of the magazine also held by rubber insulators. The magazine is also not driven anymore by a gear from the camera, but by its own silent motor. Running the camera containing a 400 foot load running at 24 fps, I had to press my ear against the side of the camera to tell if it …
Last reply by Marc Wielage, -
- 9 replies
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Hi, Anyone knows what type of TC connector does it use? Can tell that it is a Lemo but google search/manuals did not give me any specifics about the pin type. Appreciated. Engin
Last reply by Jeff Kreines, -
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- 26 replies
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Not sure if anyone else experienced this but I just started a show with the Alexa 35. After 2 days, they will no longer accept timecode from the JB1 sync boxes. Switched out cables, different boxes, switched between the two cameras, changed output levels on boxes. Nothing is working. They will take the time code but eventually give an error code. However, the cameras do take Ambient sync boxes. Would love to solve this as I’m sure there is something we aren’t thinking of. Thanks, George
Last reply by Jim Rillie, -
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ARRI Rental proudly introduces the ALEXA 65 system, available exclusively through its global network of rental facilities. Offering a complete large-format solution for high-end theatrical motion pictures, the system comprises a 65 mm digital cinema camera, custom-designed prime and zoom lenses, and fast, efficient workflow tools. The ALEXA 65 camera is a scaled-up version of an ALEXA XT, able to capture an uncompressed ARRIRAW 65 mm image of staggering intensity and definition. http://arrirentalgroup.com/alexa65
Last reply by soundslikejustin, -
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Starting a project using Alexa LF cameras. Anything unusual about the Time Code connection, or is it just the usual 5 pin Lemo? I looked at Arri's website and only came across the usual sales info, but nothing specific about TC connections. Best Jim Rillie
Last reply by IronFilm, -
- 2 followers
- 5 replies
- 921 views
Hello hivemind! I had a cable made by Trewaudio for a ARRI Alexa Mini LF. The connector is a 6-pin lemo. When trying to use this cable for the first time, it simply wouldn't fit into the Arri's jack. It is not a bent pin issue (they're aren't bent)...in fact, the lemo connector on the cable won't even go in far enough to connect to the pins. So question: 1) Is it possible that Trew put on the 'wrong' 6-pin lemo end (is there even more than 1 type?) 2) anyone else run into this problem? Thanks!
Last reply by Conor, -
- 3 followers
- 26 replies
- 12.6k views
Well we have a new camera player against the RED for Movi, drone and even 3D potentially. All I’ll say is its £25k, poor camera guys. What we care about is how to get sound and timecode in the bloody thing. Had the chance to play with one (and a prototype running Amira software) and here we are. Being just a body they have kept things very tight. First let me say the fans are as low as the Alexa but exposed like the RED, again because of the small body. It even goes into a “quiet mode” when recording. I was yet to get out of them if it would slowly get louder or how it prevents overheating. The timecode is like the Amira, BNC. So nice and easy for most. No talk of thei…
Last reply by Rich Reilly, -
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Hey guys, We're using a SD 788T SSD as our master clock, jamming Ambient lockit boxes to it and then jamming both Alexas. We have not been putting the lockits on the cameras as camera department were initially not keen to have them onboard. We started with the standard morning and after lunch jam, but we're told by post that both cameras are drifting by up to 7 frames by the end of the day. We jammed each camera 4 times yesterday - morning, mid-morning, lunch and mid afternoon - to the same result. Even though each camera is accepting the timecode jam and says "system good" after each jam, the drift is incrementally increasing. Today, we put the lockits on the…
Last reply by Donsbach, -
- 4 followers
- 183 replies
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http://www.arri.de/news/arri-amira-unveiled/ Arri announced a new documentary style camera. Wow! There's no specification on the audio inputs yet, but it looks like they could be TA3 connectors. Maybe that's a question for Bash to ask at the IBC? Looks nice! I've always longed for a camera to replace the XDCAMs in the ENG world. Maybe that day finally has come...
Last reply by Derek H, -
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- 1.3k views
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, -
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- 5 replies
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I just wrapped a project involving the Arri Amira Camera with Zaxcom QRX200, QRX235 and the wideband transmitters. I was not happy with the Zaxcom units at first thinking they were not as good as the old units then i was quick to realize that the issue was with the Arri Amira Camera! The camera puts out a ton of RF energy and desensitized all my receivers and my sound persons units. I was wondering if others have had this same experience. I have been digging around for some white papers but have not found any. If any of the sound shops want to borrow my arri amira to create one feel free to reach out. I am currently in the Brooklyn, NY area. Mayb…
Last reply by Derek H, -
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- 19 replies
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Flavor of the year! Shooting a small drama currently Denecke box permanently attached to camera set 24fps Jammed as was my slate from my 664 all 24fps Camera monitor intermittently flashes a red flag !!!?::?? Correct code always displayed on monitor 1st AC says code box or cable is faulty!!!??? Help please - day 3 tomorrow mike
Last reply by Constantin, -
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- 5 replies
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Last reply by Derek H, -
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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, -
- 12 replies
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Hi all, I have a shoot coming up with the arricam lite 35mm. Is there anything I should watch out for? Is it very noisey? (I've asked that they make sure it has a barney. ) Any help and tips are greatly appreciated, Cheers, Pete
Last reply by traut, -
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- 1.7k views
Have coming up soon my first shoot with Super 35mm film. And am wondering what should I do and recommend for ease of post for them afterwards? (of course there is always the slower manual way of lining up slate IDs for each take, and we'll of course do that as a back up resort but hoping we can use a better option?) I've been doing research myself, but it seems there are a fair few variations/opinions here. (and I should get in touch with their development house as well? To see if they can handle AatonCode or ArriCode or whatever it is that the camera has as an option, which I'll spend a tech day on next week to see the cameras in person so I can get a better feel …
Last reply by chriskellett, -
- 30 replies
- 15.6k views
Hi guys, i'm on a show with alot of driving so we have rigged one of the trucks with a timecode slate and i have split the audio input on the go pro's to put linear timecode on track 1 and scratch track audio on track 2. Everything is powered of the truck through an inverter so we dont lose power. we are also powering the gopro's off an inverter. for some reason when we tested it this evening there was a colour grain on the gopro footage. it appears the timecode is freaking out the gopro's picture. it seems unlikely but we've looked at most of the other components and it seems to be the only solution? Why would audio freak out the video signa…
Last reply by Allen Rowand, -
- 9 replies
- 2.2k views
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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- 7 replies
- 3k views
I'm new to Red cameras and in need of solutions for monitoring sound through the camera and using it to record, at the very least, a guide track. From what I've read on various threads here, it would seem that the EPIC is left sorely lacking for anyone needing to record high quality sound directly to the camera but I would appreciate any advise or suggestions for affordable but, none-the-less, professional level equipment that works well with the EPIC to record a guide track the camera from the mixer and recorder being used for the master track. Wireless solutions would be ideal. Please advise the best way to proceed.
Last reply by RKynaston,
