Patrick Tresch

I think people are going with R4+ because they love the sound of it. Now if you want a mature recorder don't buy one when it's not yet on the market. Wait for the other ones to make the beta tester (Richard and Jürg made a great job on this). I do this for all camera I buy/rent, and I think it also applys to sound equipment. I love to be a beta tester with cameras (I'm a RED fan ;-) so I know when things are ready for production and what to do or not before a production day. Upgrading a FW the day it is released is, for example, not a thing to do before a production day. Know your tools. Invest time in knowing it. And then let it sing. Pat Ps: None is forced to buy a company name product.

Did the cam dep file a ticket to RED? Technical failure can happen, camera tests are made for that. Was this their first production with this camera body? I never heard this kind of sound failure until now. I'll test the audio path for my Weapon. Thanks for your post. Pat

Have you heard about the FanPlate? If not you should have by making a simple search in your favorite browser like "RED FAN solution"... You could also push your target temp to 75C (this will trigger the heat controller later and not damage your camera) Yes Scarlet are noisier than Epics. I always use adaptive mode (only) not the quiet record, so the noise will be constant but for that I always use the FanPlate. Here you can hear all fan solutions for RED in the market https://vimeo.com/75245337 Pat

Forgive my stupid question but why would you want to have a recorder that doesn't have the same frame rate setting as the project? (I'm a 25p guy)

Hello Philip, Do you speak of any small camera mic or a specific model? Whant is the "side-mic"? Thanks.

To shoot a docu, I've used a MS mic from Audio-Technica AT835ST. More than using the stereo capabilities of the mic, I found it very interesting to have an hyper cardio and a large eight in one mic, as the editor can choose if he wants to take the sound from what is in the front of the camera or play with what is out of frame. But this mic is a bit to cumbersome and needs 48v power. I don't have any idea if it would be better stereo or mono. But stereo gives me the impression that the speach gets clearer than a mono one due to what happens in the brain and how sounds are "decripted"... I'll rely on the sound engeneer to get a nice stereo sound though. Pat

Hello, I'm looking for a camera mic for DSLR type of input (stereo minijack mic level) for an A7s2 or Weapon basic module. I wonder how the new Sennheiser MKE440 sounds. I'm looking for maximum voice clarity and background rejection. Did anybody test it at cinegear? What do you think about the sound quality on the sample showed in the review? Thanks for any input. http://www.bhphotovideo.com/explora/audio/hands-review/field-sennheiser-mke-440-shotgun-microphone Pat

Could you please put the weight of your bag? Thanks a lot. Pat

You must je right Jim paid Panavision to put their sticker on the cam. Panavision are a bunch of amateurs that pick an average sensor for their renting market. Yeah and Arri are so good that there is no need to shoot something else. Your tests must have confirmed that.

Hello, There will also be an audio-module on demand. https://www.productionhub.com/video/46235/panavision-dxl-8k-digital-cinema-camera-at-cine-gear-la-2016 Pat

What do you think about wireless TC? Does it work or is the potential delay due to wireless conversion the hickup? Could the delay be adjusted? If PV chooses this solution I think it must be rock solid? I'm trying to make the TC system choice. Pat

Well I know it exists because I was awarded by them for "Mangrove" but you have access to what is disponible and they shurely will first serve the next Bond film and then the New Filmaker Program if ever. ;-) It's a long time that there are solutions to shoot RED as quiet as Alexa. And on the DLX model they did another fan system with 2 bigger fans, wich BTW you can also have on the Epic using the FanPlate.

No beginner will use and afford the Panavision DXL camera and lenses. The one who does afford will also afford any post production.

@JonG to bad! But nothing to do with the tool. Just how they use it.

It looks like they have access to the Sensor RAW data and do their own debayer. Not only tweaking from the RGB signal as done by the ACN egine. Ian Vertovec, from Light Iron: "We profile the cameras and build color adjustments in the widest possible color space. Then that adjustment is embedded in the RED SDK. This way we work off the raw data and you can still output to rec. 2020, ACES, etc, and still maintain all the original camera latitude. And since it is embedded in the RED SDK, it's available in any software that supports RED. " http://www.liftgammagain.com/forum/i...sion-dxl.6817/ But this statements from the same person that looks the contrary... (who knows?) "There may be a reason for us to do our own SDK at some point, but for the foreseeable future it will be though RED. An easy implementation for third parties and users was a high priority. That is why we kept the .r3d format." I don't know with whom you work but I doubt Ficher and some others work like that. Mark Wielage will give us more accurates infos as I see he will gather them at Cinegear. Anxious to hear from him.

There are 2 mic below the lens mount but if they are as bad as those on the Weapon it's unusable even for a "guide track". They treated it more like a film camera. The camera will be used only on rentals for top of the highend shoots. But it's still a prototype, perhaphs there will be a small audio reciever built in once...?

Everybody knows Geoff Boyles's love affair with RED... But no doubt Panavision embracing RED for their new top of the line is a big statement. But they also had to do this moove when they didn't have the right to use Arri65 in their rental arsenal. Thanks Arri for your visionary attitude! Lol

No it's Ambient TC. What you described is another 6k body from Fincher's design. 16-bit, 35.5 Megapixel CMOS 8192 x 4320 Large Format: 40.96mm x 21.60mm (Diagonal: 46.31mm) 15 stops 60 fps at 8K Full Frame (8192 x 4320), 75 fps at 8K 2.4:1 (8192 x 3456) 8K RAW with simultaneous 4K proxy (ProRes or DNx) SSD (up to 1 hour on a single magazine) .r3d (supported in RED SDK) Light Iron Color (compatible with all popular gamuts and transfer curves) 10 lbs. 6 independent video outputs Supports 6 independent 1D LUTs or up to 4 independent 3D LUTs Directly motorize Primo 70 lenses through wireless control Built in wirelesss timecode for genlock (Ambient Control Network) Dual menus (Operator side, Assistant side) Advanced airflow system for superior temperature management Custom cheeseplate with integrated electronics Modular and tooless quick changeover accessories And for the media, there is also R3D compression. Wich gives you as much as or much lower data rates than an 3.4k Alexa (if needed).

It's a nice "RED" camera. Good move from them to enhance the best sensor in town.

My small docu audio bag (I'm a DP...) Holds : My beloved Sonosax R4 in a customized Portabrace mini 302 Lectrosonics SRb reciever Audioroot 45wh battery (I can shoot 2 days with 2x48v and 2x line) and some spare space for a SMB transmitter. I could add 2 more channels (Sennheiser G3 recievers) in the unballanced stereo line in. 1,8kg Patrick

Thanks Wandering Ear, good to know.

Hello, In the video 1'42'' they say that the TC is written at the beginning of the clip but also at the end. If there would be a glitch in TC and the math of number of video frames VS TC doesn't sum up would this cause a problem? What is the TC out used for? I didn't know that the TC out was also written. Pat

Thanks Pat, Very good link!

Time base is the clock set for the project (like 25p) but you can shoot out of speed at 50fps for example, so there would be no sound and no TC synch if the time base and the fps aren't the same (this also can happen bewteen 23.97 and 24). TC is one thing Genlock is another one. To have perfect synch you have to use both. But Genlock can be desenabled (not displayed as green) if for example in a 24p project the video output is set to 25p. All video path MUST be set to the same FPS speed (monitoring, project, hdsdi, focus confirm mode, ...). For 25p folks that use focus confirm mode it's not possible to have Genlock as the focus confirm mode uses a 24p internal signal to process... Either you desanable the focus confrim mode or you don't use Genlock. Pat

Yes and if I may add: Up to 2 per travelling person for 100wh to160wh (in cabin) Nothing over 160wh No LiPo