Red Epic - Pro I/O Module (5-Pin XLR Audio Output Pinout)

[Matt Langley]

I have a shoot next week with the Red Epic. Production wants to record directly to camera via the Pro I/O Module. I would like to use the 5-Pin XLR output for return audio to my mixer.  The Operation Guide on the Red website shows a non-standard pin-out for the 5-Pin XLR.

Pin 1 - L+

Pin 2 - Camera Ground

Pin 3 - L-

Pin 4 - R+

Pin 5 - R-

 

The standard that I am familiar with is Pin 1 being ground/shield and Pin 2 being L+. Is this a typo in the Manual or has Red made a new standard for 5 pin audio? I have tails to use the headphone output if I need to, but the 5-pin is a much neater way to come off the camera (being right next to the inputs.)

Has anyone had experience with the 5-pin XLR output on the Pro I/O Module?

 

[Marc Wielage]

My opinion is that your production company is foolhardy, and recording sound on the Red is not a good idea. The biggest issue is that you won't be able to monitor it unless you're plugged into the camera (using the return, as you describe). The wires all over the place will be a hindrance to the operator. 

 

I think they'd be much, much better off having you record double-system and letting them sync up later, and just send a wireless hop to camera as a reference track. There's been a lot of grousing about the Pro I/O box on the RedUser group, none of it good. Be warned that this box has a fan in it, so it's yet another source of noise from the camera.

 

I have not used the Pro I/O for return audio, but I can verify that the input channels 3 & 4 do work. Be warned that you still need 3.5mm balanced plugs as inputs for Channels 1 & 2. 

 

Here's a link to the Pro I/O manual, but be warned that it hasn't been updated for almost 2 years (which shows you how much Red cares about this accessory):

 

https://www.red.com/downloads/501ac6f617ef02409900181c

[John Blankenship]

Red's on-camera audio is marginal at best and varies from unit to unit, and also from firmware build to firmware build.

Heed Marc's advice. If the producers insist on using the Red's audio, ask them if they're happy with hi-res pictures and VHS sound.

[studiomprd]

JB: " If the producers insist on using the Red's audio, ask them "

I'm also with marc...

how about strategy...

If they insist, after you give them the price for you to do as Marc suggested (Double system + hop), vs. the price for doing it their way.

then tell them you will invest in gamble by also making your double system recordings, but if they want or need them later, they will cost double the difference...

[Patrick Tresch]

Probalby you could also get the camera operator on your boat. It's not an easy job to have the whole film crew tied to one camera body.

 

Pat

[Jay Rose]

Even if the Epic had adequate sound -- and you'd never be able to tell that from their published specs -- we're talking a needless D/A/D conversion, at whatever quality they've decided to provide for the ADC.

 

They're using a pro i/o module. Why not feed AES/EBU? You'll still have the reliability issues, but at least you won't be hampered by their analog circuits.

[Marc Wielage]

That's usually the way I convince them to go double-system: not because of the sound quality, but because of the DP/operator squawking about having yet another cable connected to his rig. And I get that it's another thing for people to trip over. 

[jrd456]

Yea,talk to the cam operator and walla all will be good.It almost never fails if you can tell the cam operator what they want you to do a few days before the shoot and you will gain a friend.

 

                                J.D.