Cameras... love them, hate them
- either way, we are doing "sound for picture"
398 topics in this forum
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- 11 replies
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Hi All, When syncing the audio the picture there is a sync drift of 1 frame each hour. So at the end of an 8 hour day the audio is 8 frames off sync. I put the lock it on the F3 and connect the timecode + genlock. Yesterday I brought my R4 + lock it to my dealer and they experienced an sync drift off 1/2 frames each hour. They corrected it but today I got the same problem... The problem seems the same with different F3 camera's. We sync in QT/bwf merge. Anyone experienced something like this? Sent from my iPhone using Tapatalk
Last reply by Dennis Kersten, -
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Last reply by codyman, -
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Did a shoot with the Sony F3 and the audio return had a hum in it that does not show up on the recording. I know it isnt my cable because it does not happen with the return from any other camera. Has anyone else ever had this happen withe the F3? Thanks, John
Last reply by zernicke, -
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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, -
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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, -
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I/We solved the problem quite easily despite all the posts about how erratic the process could be. 'A' camera had the additional "box' with xlr inputs so that was easy, we just switched the input level from mic to line and velcro'd a Comtek to it and Bob's your uncle. B camera was just a basic body with a mic input which took an 1/8" plug at mic level only ( it doesn't switch to line). We padded the mono 1/8" to 1/8" cable by 20 db and Fanny's your aunt. What we did have trouble with was extracting the bnc to hirose cable from the lockit box to the camera. Once that bugger is in it's so hard to remove. Other than that all is going well so far, notwithstanding the unpred…
Last reply by studiomprd, -
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On these new breed of cameras, the front inputs are a 5 pins XLR-F, intended to use with an on-board stereo mic. Now I want to use that connector to receive two different signals : an on board mono mic, and the output of a receiver, at mic level obviously. The phantom power is always on the two inputs, but this shouldn't harm the receiver (which would be any Lectro model from 190 to 210d to 411, depending of the day) Now I tried with a Y cable I made, and no way to have any signal from a mono mic. Yes, the phantom power is on. I missed something. Any light ?
Last reply by jpbat, -
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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, -
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4000$ Red One body http://www.red.com/s.../red-one-ssd-bt http://www.reduser.net/forum/showthread.php?88074-Attitude-adjustment
Last reply by Marc Wielage, -
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For all our sports camera friends out there. 11789274_870162073069574_921841507_n.mp4 Hmm seems not to be displaying correctly I added the direct YouTube link - jw
Last reply by efksound, -
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I have to work with the HPX2700 Panasonic I want to use the front mic input, which is a 5 pins female XLR Am I right to assume pin 1 is ground, 2 is hot Left, 3 return Left, 4 hot Right and 5 return Right ? I also want to monitor with the rear 5 pins male XLR Is this the same than above ? (1 ground, 2 hot L, 3 ret L, 4 hot R, 5 ret R) It should be, but how knows... I don't find the info on the manual, and I don't have the camera at hand. I understand this front mic input is intended for a stereo mic, but I want to use a mono camera mic on one track, and a receiver on the other, so I'm ready to make a small pigtail to accomodate my needs. Is…
Last reply by jpbat, -
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I'm working on a shoot with a C300, 1D-C and 5d. I'm recording to 664, sending audio and TC to C300 hardwire, and sending a mono scratch track to 1D-C and 5d via lectro 401. C300 and 5d are fine, but 1D-C is failing to record the scratch track. I'm sending it line level (as per 1D-C menu). The level setting menu sees tone but upon playback there is no sound. We've managed to work around it by keeping the 1D -C close and opening camera mic, but obviously, this won't work all the time. Has anybody experienced similar problems?
Last reply by jed productions, -
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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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Two red Epics on a movie in Alabama and despite all the quasi-negativity that's been bandied around here and elsewhere I must say it's been a pleasure so far. Time code jamming is easy, lockit box slates and all, although I have found that there's a three or four frame drift if I don't jam every three hours. The sound and picture is syncing just nicely and the picture quality is really awesome. The DP notwithstanding the footage is really pretty and the cameras really bring it pictorially. I worked with the Al;exa recently and for my money the price differential is not worth the picture difference which to my eye, (remember I'm a sound man) is negligible. Now let's talk a…
Last reply by Marc Wielage, -
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http://www.usa.canon.com/cusa/professional/products/professional_cameras/digital_slr_cameras/eos_6d Nothing really new on our end except for the alleged timecode feature. There's no port for it, so I assume it's LTC via the mic jack. Anyone know anything about this yet?
Last reply by Predrag, -
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I recently worked on a feature shot on an Epic using a Bartech wireless follow focus that made a very annoying intermittent, constantly changing motor noise that I picked up anytime the camera was close to talent. Has anyone else had this issue? We had our rental house bring another follow focus of the same digital model but that also had the same issue. Our steadicam op had his own analog model that did not make significant noise. I build a cover for it that cut down the sound somewhat. I hope I don't have to deal with this again.
Last reply by Malcolm Davies Amps CAS, -
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not really a sound focused topic, however i find the promo video for this camera fun to watch https://www.lily.camera
Last reply by pindrop, -
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So I've been driving myself crazy lately with an audio issue that's really not an issue. I work with the same C300 very often, and I've been noticing some strange interference just recently. I notice it during sit down interviews when I listen to the camera return...I hear little blips like digital crickets. the thing is, audio from the mixer is clean, so it's not the mics picking up interference. I've swapped out my cables and breakaways to the camera, so it's probably not them. Every so often I just start hearing these blips, very very softly in the background. It's not something you would notice unless you're listening for it, but I hear it loud and clear now. Thi…
Last reply by Philip Perkins, -
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Hello! Does anyone know how to adjust the level from the 5 pin audio output on sony xdcams? I searched the manual and found nothing. The camera op couldent help me either. The level is way to high and overloads the headphone amp on my 664 :S
Last reply by Mungo, -
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Some time ago I had written this "one-sheet" spreadsheet for all the digital cameras I've worked with, to help me identify what the I/O was across all of them, which helped me greatly in planning workflow and making/packing the right cables. Since it is a common question, I've decided to strip some of my personal notes, and upload it to GDrive to share with anyone who would like to have a copy. You can make a copy to your GDrive, or download it as an Excel Spreadsheet and modify it as you please. https://docs.google.com/spreadsheet/ccc?key=0At6zXkYwWUhDdGFzMm5iUkJqTmVMeHcxTDdrT0NNLUE&usp=sharing Cheers, José
Last reply by Toy Robot, -
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Last reply by Olle Sjostrom, -
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Anyone had the chance to work with one of these units yet ? I know they are pretty new but I thought of asking anyway. The classic ones are one of the quietest fans I 've worked with. Can't imagine how quiet will the new ones be ...
Last reply by Patrick Tresch, -
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Be aware; GH5 has 8 frames of silence at the beginning of each clip. (At least in the 4K material I got.) Now, Avid MC can read AUX 'sorta kinda' from these clips (it's hit and miss), but it will set the start TC to the first found LTC frame, thus being off by 8 frames. Other applications (including mine) are smarter, but do warn your clients if they are on MC (Not sure if that is a fixed offset though, but a quick and dirty fix is to (positive) offset the BWF's by 8 frames.) How do I know? <rant> Got a job to convert 5 shooting days of GH5 material to something else, since MC cannot natively read these files. No…
Last reply by Bouke, -
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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, -
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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,
