Mike Mulcahy

Tentacle sync and camera audio to Arri Amira?

12 posts in this topic

Hi,

I'm building up my prod sound experience and have a one-day doc shoot tomorrow in which I am doing two things new to me:

- providing TC to the camera

- sending a mix output from the recorder to the camera

 

I'm feeding 3 lectro radio mics and a boom into a SD442, and then iso'd mics and a mix into a zoom F8.

 

I've checked the JW posts and have gotten useful info; this is what I plan to do:

1. I'm renting a tentacle sync and plan to jam sync the F8, and the Amira via BNC in

2. I'm renting a lectro SRC receiver with two LT transmitters, outputting from the f8 to the Amira ch. 1 and 2, mic level in

 

Any info re: unintended results appreciated.

 

Thx,

 

Mike

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Any info re: unintended results appreciated.

I think you're going to have to be a lot more specific.
Overall your setup sounds ok. Make sure production really wants a proper audio track on the camera, as opposed to a simple scratch.

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You need to be more specific here, Mike. Which device is going to be Master and which devices are going to be Slave for timecode? I suggesting to set Tentacle Sync as Master and F8 & Arri Amira as Slaves.

When the camera dept. changing battery or card; check again the timecode. If the camera change frame rate (example 50 frames), make sure to jam again.

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Hi,

Thanks for the prompt replies.

I have a question in to production re: scratch or a proper track, but haven't heard back yet.

re: sync: I will  follow your advice and slave the F8 and Arri to the master tentacle unit

 

best,

Mike

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re: sync: I will  follow your advice and slave the F8 and Arri to the master tentacle unit

Well, technically that's not slaving, you're jamming/syncing both devices from the same clock. Ideally you would have two Tentacles and keep one on the F8 and one on the camera at all times

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Hi,

Righto...that makes sense.

Thank you for the help.

best,

Mike

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You might feed the cam hop from the mixer instead of the recorder. In your setup, cam would not get any audio if the recorder fails. When feeding the cam from the 442 directly, the recorder can fail without affecting cam audio. That's a free backup unit.

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#: 9   Posted

On 08/04/2017 at 6:50 AM, Constantin said:

Well, technically that's not slaving, you're jamming/syncing both devices from the same clock. Ideally you would have two Tentacles and keep one on the F8 and one on the camera at all times

Two is ideal but if you only have one Tentacle you can get by. Just put it on the camera and make sure you never ever turn off your F8 (as then it will lose TC). You'll need an external battery for the F8 to be able to run it all day long.

This is exactly the approach I've been taking with my F4 and an Alexa lately.

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9 hours ago, IronFilm said:

This is exactly the approach I've been taking with my F4 and an Alexa lately.

I know this likely wasn't your decision but 60'000EUR for a camera and 600EUR (or in other words 1%) for an audio recorder always make me wonder what producers are thinking..

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41 minutes ago, chrismedr said:

I know this likely wasn't your decision but 60'000EUR for a camera and 600EUR (or in other words 1%) for an audio recorder always make me wonder what producers are thinking..

I can tell you what their thought process is.  It's, "What can I get by with?"

If their clients judge them by what camera they use, then it'll be a higher end unit.  If those clients don't make similar judgements in respect to sound, you'll find the disparity we too often encounter.

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On 5/8/2017 at 5:57 AM, John Blankenship said:

If their clients judge them by what camera they use, then it'll be a higher end unit.  If those clients don't make similar judgements in respect to sound, you'll find the disparity we too often encounter.

Unfortunately true, often nearly everyone on set knows what camera is being used..... does anyone ever look in my bag? Nope!
That was only the one shoot I've done with an Alexa though, and many of the people were working on it for free, so it was a pretty low budget shoot. 

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