With the quick nature of capturing moments, there is rarely a moment to get a slate in at the top or tail of a shot. I have a lav mounted to camera  to capture the motor when it triggers. But I'm curious what the original workflow was like and best practices I can use moving forward. Is this the kind of situation where I have to push for camera team to slow down so that we can get slate in? Or is there potential for the editors to be able to slog through and incrementally sync shots as the shutter sounds show up on the ISO of my continuous wav file? (Even though that would suck for them haha) 

Almost all cameras have a processing delay for when they see info and goes through the sensor to be written onto a data card/storage. For some reason, this is not something documented in any cameras manual from what I can tell. Which I think it should and could be(at least closer than how it is now). 

Do folks know off hand what offests that cameras need? Please share if you do! 

So far I've been using Lockits and noticing that FX6 and FR7 sony cameras have about a 1.5-2frame delay at 4k. 

V Raptor has about 3-4.5 frame delay at 6k. 

Anyone have any others? 

Or are you not worrying about that? To me even 2 frames is quite a bit. 

The audio recorded on the MixPre is perfect as usual, but the audio on the camera (sent over a line-to-mic cable) has a significant static/buzz along with the mic(s) signal.

I've been using these two together with zero problems for years, Komodo + MixPre, BUT the MixPre was always powered via its own power source before. 

Obviously changing the power source is creating the problem, but why? Is there not a way to power everything on the camera off the v-mount? Anyone experienced this with other combinations?

Thanks,

David

Australia camera company Nexus is currently in the preorder phase and not on sets yet but timecode is

USB-C for timecode !

  Another proprietary timecode cable?! 

Nexus G1 Cinema Camera 3300. USD price

specs show

Timecode Inputs and Outputs

Quote

 

USB-C Timecode Input: All USB-C ports support digital timecode input, via an ADC adaptor cable, enabling accurate synchronization with external cameras, recorders, or generators. 

USB-C Timecode Output: All USB-C ports support timecode output, allowing the Nexus G1 to jam timecode to other devices using a DAC adaptor cable. 

Jam-Free Syncing: The Nexus G1 handles timecode digitally over USB-C, avoiding the need for audio-based jamming, preserving both XLR and 3.5mm inputsz for clean audio. However, all audio inputs also support timecode jamming if required. 

 

How disappointing after Sony FX3 and FX30 required a MicroUSB adapter cable for timecode. 

Thoughts guys and gals?

That last line though on Syncing: "all audio inputs also support timecode jamming if required. " If so that would mean

Full Size XLR: 2x Full sized XLR audio inputs 
3.5mm Mic Jack: 1x 3.5mm stereo TRS microphone input jack.

This is a big big development for ARRI, as since 2010 they've been using in all their cameras exactly the same sensor (although offering an LF sized version to meet the 4K demands that the original S35 couldn't do). This is their first new sensor since then, and can natively do 4K with a standard Super 35mm sized sensor. 

We can expect to see many many of these AELXA 35 cameras on film sets in the future. Assuming they haven't dropped the ball here (and I highly doubt ARRI has), then the ALEXA 35 is going to be just as popular as all the past ALEXA cameras. Maybe even more popular, if that is possible, thanks to the phenomenal 17 stops of dynamic range the ALEXA 35 has. (& ARRI always measures DR conservatively)

Seems they've put a little more thought into audio than they have before. Has built in scratch mics like the Mini LF has, and has optional accessory backs, such as this one made by Sonosax:

Hope this Sonasax audio module ends up becoming the industry standard we see on all ALEXA 35's rented out!

Even without the Sonosax AEM-1 accessory the ARRI ALEXA 35 still gives you 2x line level inputs (same six pin lemo cable as Mini LF. The lemo connection also supplies 12V power for your receiver) with a total of four audio tracks that can be recorded.  You can choose to record the following on any of the four tracks:

• None
• Line in L
• Line in R
• AEM-1 L (only if the Sonosax accessory is attached)
• AEM-1 R (only if the Sonosax accessory is attached)
• Internal Mic L
• Internal Mic R

Seems however the camera only shows the audio meters for Channels 1 & 2? Maybe a firmware update will come so you can see the audio levels for 3 & 4 as well.

As for internal mics, Matthew Allard says:

Quote

The audio recording level of the internal microphones is fixed, with the left microphone (channel 3) using a +18dB higher gain than the right microphone in order to cover a wide range of audio levels.

Timecode is still the same lemo cable on all the other ARRI ALEXA cameras. (has genlock too, on a BNC connector)

The blurb about the Sonosax AEM-1 from Newsshooter.com: 

Quote

• 2x Mini-XLR for analog MIC/LINE in with optional 48 V Phantom power for MIC in, and Phase reversal, adjustable low-cut filter, gain and limiter
• 1x Mini-XLR for AES stereo digital audio in
• 1x Headphones
• 1x Regulated 12V accessory power
• 1x Regulated 24V accessory power
• Dynamic range: 129 dB (MIC), 135 dB (LINE)
• Total Harmonic Distortion (THD): < 0.001%
• Best studio audio quality to match the best image quality

The Sonosax has a menu and navigation buttons, with controls for Input 1 & 2:

Blackmagic Camera ProDock Announced September 2025. 

 more photos here

Quote

Blackmagic Design has announced the Blackmagic Camera ProDock, a new dock that adds professional camera connections to the iPhone 17 Pro and 17 Pro Max including genlock, external timecode, HDMI out, headphone and microphone inputs, external disk recording and more.

$295. USD

Genlock IN (on BNC)/Timecode IN (on BNC)

Final Cut Camera 2.0,  free iOS video app. 
Genlock support: Syncs iPhone 17 Pro and iPhone 17 Pro Max to an external reference
Timecode modes: Time of Day, Record Run, external timecode
Compatibility: iPhone Xs or later on iOS 18.6 or later (some features require iOS 26 or iPhone 17 Pro)

Genlock support with third-party API access for iPhone 17 Pro and iPhone 17 Pro Max 
Blackmagic Design’s Camera ProDock is already using it.

Will a smartslate be the quicker and simpler sync solution for always shooting on an iPhone/Android smartphone? Yes.

Will the entire tripod rig be kludgey as hell? Yes with the camera and the Blackmagic Camera ProDock strapped together. At least it is a standard connector BNC for timecode IN.

How often are any of us going to be asked to provide a Genlock for Blackmagic Camera ProDock using a iPhone 17 Pro and mixed other camera models? Probably as often as we are currently asked to provide Genlock because most productions just want timecode only and are not a studio setup or concert/live event lasting 4 hours.

Will the 3rd party API access for Genlock support on iPhone 17 Pro models bring up the idea that camera clock sync is a camera department issue and not a sound dept. issue? Probably not.

If producers are shooting on iPhones then they are not getting a camera rental house to supply camera clock sync. Period.

Will producers actually pay for a Genlock sync box? I see this being more of a having to educate the inexperienced clients that a timecode box is not a Genlock box outside of a few:

a few small more expensive portable models of:
Ambient Lockit (ACN-CL) - Timecode and Sync Generator 

Ambient Recording Lockit  NanoLockit 
Timecode Systems Ultrasync One/Atomos AtomX Ultrasync One 
Denecke SB-T TIME CODE + VIDEO SYNC GENERATOR 

As no one is running hardcabled BNC cables from a AJA GEN10 Sync Generator to cameras...

Quote

The most notable feature of the PXW-Z300 is its distinction as the world’s first camcorder to embed digital signatures directly into video files. This capability, built on the C2PA (Coalition for Content Provenance and Authenticity)

Sony PXW-Z300 a 1/2-inch chip camera for for news, sports, corporate, events, documentary, live programming, and reality shows. Let's be honest here only news or documentary would get a lawsuit maybe asking for original files in legal discovery or in criminal trial as subpoena. 

Quote

The timing of this feature seems particularly relevant given the industry’s growing emphasis on combating misinformation with AI generated images and video and establishing content provenance. 

I wonder if this strive for content provenance authenticity would spillover to sound manufacturers like Zaxcom, Sound Devices, Zoom, Tascam, Diety being asked for in the field recorders adding embedded digital signatures in sound files. All the metadata now is just that metadata. The only way I can see it being an authentic timestamp and not changed later is to have a GPS-disciplined timecode stamp using Coordinated Universal Time (UTC) [instead of just time-of-day SMPTE timecode that was jam synced as is current industry standard] embedded digital signatures a sound file. 

once a year I have a shooting with an old school Sony PDW 700 tied to my Nova 2 with a coiled cable (2ch send and 2 return). 

Now the last two times I have not had success getting the return channel to not distort, but the audio was clear on the camera itself when listening directly with headphones. 

It distorted less when setting the Reference Out to "EBUL". But it never got completely clear and distorted at around -8 db very heavily.

I don't have this cam on hand and once I shoot I also don't see myself having an hour to test every setting like the last few times. 

Does anybody have a hint how to fix this problem? The return on the nova is also on 0dB (can't decrease, only boost). 

Signal is line level. 

Hey all, 

For the first time in ~10 years of doing this, I've been booked on a 'film' shoot. I feel like I'm starting all over again! 

They are shooting on a 16mm ARRI with no timecode module. They tried getting it installed, but the round-the-world trip and logistics didn't pan out - timecode slate will be used. 

Is this as simple as it sounds? No sound to camera? No audio return? No playback of takes? Match the frame rate, jam the slate, and go? 

Things are never as simple as they seem - what am I missing here?

Many Sound Mixers I've worked with have tried to purchase wireless video solutions (Vaxxis, Hollyland, etc.) to be told be camera to turn them off because they think it's interfering with their equipment (which it very well might be if it's frequency hopping).

I'm pretty new to 2.4Ghz/5GHz on set as none of my current equipment runs on these bands, so here's my question:

I just purchased a DJI SDR Transmission Combo, with the understanding that the bandwidth it transmits is much lower then a Teradek/Vaxxis system (although lower res then what camera transmits which is fine for a Sound Mixer). On the DJI, I can set it to a 2.4Ghz frequency and turn off frequency hopping so it's not competing with the Teradeks for frequencys.

All the camera equipment on our set is operating on 5G, if I have a frequency set in the 2.4 range, can it cause interference with their equipment in 5G? 

I've tried doing some research but haven't found an appropriate answer.

Thanks,

Jesse

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https://www.arrirental.com/en/cameras/digital-65-mm-cameras/alexa-265 

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From sound POV:

Has anyone had similar experiences with this combination?

has anyone experience with the F55? We are going to shoot a TV series with 2 of those cameras for the first time. 

In the last few years we worked a lot with the Arri Alexa and this camera has a stable timecode generator (build by Ambient) Our workflow with the Arri is to sync them regularly (2 to 4 times a day or when there is a TC drop after a battery change) with our Aaton Cantar recorder that runs as TC-Master. The sync is done using a Denecke Syncbox. The Camera than runs in free-run synced on the incoming TC. This works very good and is really stable.

I was wondering if the internal generator of the F55 is that stable. Or do we have to provide a Denecke Syncbox on every camera permanently connected to them? We know these sync-boxes do the job, but does the F55 it?

Thank you in advance for the input!

Kind regards from Belgium,

Pedro

Any ideas? I have to imagine that there’s some sort of PC USB control to tweak settings but if so it must be dealer info only. I guess that’s my next stop. 

i am about to start a shoot with 2 red komodo X (latest version of the komodo).

I have been shooting with Komodo's in the past and the fan's are not loud.

This latest model though has litteraly no FAN setting into the menu.

I wonder how this new komodo behave in hot summer and long takes.

Any experience anyone?

Thanks

I hate these kind of posts, but here I am in a Mexican hotel room with a camera that's not co-operating. Panasonic EVA-1 is shooting PAL, is in 25fps (on speed and recording audio), but is locked in record run and won't take a timecode jam from my tentacle. The menu item that allows you to switch from free run to rec run is greyed out and un-selectable. Anyone used this camera before?  I've been through every menu setting and nothing has allowed me access to freerun. Thoughts? Thanks in advance. 

Parker

Got it!

Turns out the below setting must be OFF.

Camera settings/fps/vfr sw - OFF/ON

Hope this can save someone else a massive PITA. 

Pb

I am 5 weeks or so into a TV show with the Sony Venice camera. Here's what I have discovered.

It's very quiet. Very very quiet. There are simple fan settings. Four, I think. Two that are for MOS stuff or hot exteriors. Two that shut the fans off while rolling. When the camera gets hot (which is does fairly easily in warm sets and rolling resets), the fan will kick on. We think it might actually be the recorder fan versus the camera fan, but we can't really run a test in the middle of shooting, so perhaps someone in prep can do a test to see what's kicking on. Either way, it's a fan that is louder than Alexa but probably similar to RED at 30%. Ok at a normal distance with one camera, but iffy up close with two in a small set. Unlike the Alexa mini that'll ramp up and down, making inconsistent noise, the Venice fan is consistent, with a pitch I can imagine being very easy to get rid of with basic NR.

In terms of TC. We started off doing off speed stuff, which threw off the TC. It just went off a bit, unlike the Alexa which resets, so we didn't always notice. So there are now tiny lockits riding on the cameras. Before the ACs or DIT were just jamming. Haven't heard anything from anyone regarding TC, so can't really comment on it. They must be syncing from slate or just taking care of business without troubling us. Never heard from them when we KNEW the TC was off, so there you go. Professionals.

It's big. Not really our problem.

It eats batteries like no business, and has some issues with power from our stedicam, which has caused some problems, including dropped clips. Our DIT reloads all the time, even though the card will hold 90 minutes!! He does it to keep up, but also because one bad clip can corrupt the card. The camera has shut down a few times. I think we have lost 2 cards with bad clips. They've been sent in for data recovery, but who knows. We made sure we had the shots we needed on the new card.

I don't run sound to camera, so don't know how good the sound is. But I'm guessing it's great. The Sony cameras have always been good.

Cheers,

Robert

I connected a Ultrasync One via the two connectors to an audio port and to the cable so the signal is absolutely identical.

I waited for a few seconds for the camera to find the timecode and then recorded in 50p (for europe).

Now when I try to sync in Tentacle Sync Studio there is a constant shift of 2 frames of the video-timecode compared to the audio timecode.

Does anyone know what's going on and does anyone have the same experience?

DJI Ronin 4D? In particular with the Autofocus (laser) system and the video-tx (2.4 & 5.8GHz)? 
 

Any trouble with your audio wireless? 
I will be using Zaxcom .6 and Zaxnet.