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John Blankenship

5D Shoot Workflow

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Nate C   

Hey Dominoique that should work fine. I have sent sound to 5D via my SRa before that production wanted as their main source.

Set it up as you described. Can't remember what the levels were on my SRa. Got them to record a test clip and play it back. Client was happy and never asked for my back up.

 

I also made up a trs to 2x ta3 lead so there would be a minimum of leads. Used the sled in the hot shoe mount when a monitor wasn't being used and velcroed the SRa to the monitor if it was in play.

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" i doubt that i ve been able to get my point across that it s better for them to record externally and sync later. "

while that may be your view, it obviously isn't theirs;  I've worked with Japanese crews a lot, and they have their way of doing things, and especially when it is different than "our ways", fighting them on it is not a good idea.  but that does not go to my question about the rush, and professional Japanese crews will allow you proper time to do your work, especially if they want you to connect to their camera(s)... and BTW, they will probably know their tools very well, and be helpful....

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rosa   

hello all. this is my first post on the site. until now I´ve always been a grateful reader

 

anyways, ¿Has anyone worked with the 5d mark 3, with the new firmware, connected to an external deck being used as a master?

 

i have been working on studio shoots for commercials, and we have been using the 5d and a AJA ki pro deck, but the deck only for playback, and not as a master. I asked why and was told  it was because the 5d HDMI output is inferior to the image it records,

but with the new firmware, i wonder what the deal is.
 
If used as a master, I could send it reference audio and TOD timecode, and avoid using a Slate.
 
Thanks
 
RoSa

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Upcoming shoot with one 5D and one 7D. Post will be in Premiere. 

 

They are willing to rent the following: My 664 kit, TC slate, and TC and Audio into cameras, one on each audio channel, using IFB Tx/R1as and Mozegear TIG. 

 

My business partner had great success with this config, but it was FCP in post.

 

Anyone know how this might jive with Premiere?

 

I'm going to try to do a workflow test, because, as a very wise man once said, "do a workflow test." 

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5D, 7D next D plus other cameras all shooting at once.  This has happened and to make it even more of a challenge the multiple cameras would start and stop sometimes independently.  Slate when ever you can, mid take re rolling - shoot TC slate (no clap).  Always send audio to every camera (help pluraleyes as much as you can) and here's one more:

At the roll just after the slate - and/or instead of the slate (Sometimes they don't let you even do a slate) with a spare channel or with your slate mic (I use this a lot) SAY the Audio take number and let the switch slap back making a nice pop.  The click is on every camera and the Audio take number is there too.  Editors love it, scripty loves it.  Some don't give you any time at all - I have had directors insist on no slate and then say, "roll camera chat, chat, chat, and action."  Zero time for any kind of slate.   I would quietly talk over him to recorder and cameras, "Sound twelve - click !"  At the end of the day Producer/scripty gave me a hug.

Adapt and overcome.       M*

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5D, 7D next D plus other cameras all shooting at once.  This has happened and to make it even more of a challenge the multiple cameras would start and stop sometimes independently.  Slate when ever you can, mid take re rolling - shoot TC slate (no clap).  Always send audio to every camera (help pluraleyes as much as you can) and here's one more:

At the roll just after the slate - and/or instead of the slate (Sometimes they don't let you even do a slate) with a spare channel or with your slate mic (I use this a lot) SAY the Audio take number and let the switch slap back making a nice pop.  The click is on every camera and the Audio take number is there too.  Editors love it, scripty loves it.  Some don't give you any time at all - I have had directors insist on no slate and then say, "roll camera chat, chat, chat, and action."  Zero time for any kind of slate.   I would quietly talk over him to recorder and cameras, "Sound twelve - click !"  At the end of the day Producer/scripty gave me a hug.

Adapt and overcome.       M*

 

 

I sincerely commend you for finding a way to work around this - we've all been in situations where we've had to figure out alternative ways to do our work efficiently and effectively.

 

However, I think having a director who "doesn't do slates" is a production problem, and working around him/her sets a bad precedent. No need to be an asshole, but I try to talk to production and explain why slates are a good idea, etc.

 

In my experience, any director who understands the process (as well he/she should!) will be open to helping the crew members achieve a good acquisition of sound and picture.

 

My two cents…

BK

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VAS   

Saying the audio number helps. I have done a few shoots with this method without issues.

I am not sending audio to these type of cameras, because they are going to use it.

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BK: " having a director who "doesn't do slates" is a production problem, and working around him/her sets a bad precedent "

what it is, is having a director that doesn't know what they are doing...

what do they base this decision on ?? yup, nothing!

it will be someone else's problem,  and if the director doesn't get it, it is not going to be my problem!

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I've done a lot of DSLR short films on 5D and 7D and simply let the camera roll it intern mic just for reference to dialogue when they're listening back. To me, the pumping and breathing on the audio levels, and the fact that you can't monitor levels kills me.

Magic lantern firmware fixes the monitor levels.

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