Cameras... love them, hate them
- either way, we are doing "sound for picture"
375 topics in this forum
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Hi all, I'm about to start a feature with a camera that i have never heard of until yesterday. We will be shooting on the Kinefinity Mavo LF. I saw the camera yesterday and got it to accept TC from my tentacle. TC input is a lemo 5 pin. Pretty straight forward. I didn't managed to deactivate the sound recording though. It either accept external sound from 2 XLR input located on the top (both "pro" level, line or mic level and with phantom power) or has an internal mic. The best i could do was to turn the gain down to 0db but couldn't completely turn it off like on Alexa mini for exemple. Has anyone experience with this camera? Any do and…
Last reply by Ben B, -
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Has anyone worked with the RED KOMODO and can live to tell if it also is a brick-with-a-fan?
Last reply by Rich Reilly, -
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- 551 views
Hi folks, First post here in about 6 years I think!! I am a doc filmmaker but one that actually cares about good sound! I am setting up a new camera and sound setup and would really appreciate some advice and suggestions for how to do this properly. I am shooting mostly as a single operator, so I need to be able to do both picture and sound. I am shooting on a canon c300 mk3, and I have a mixpre 6 mk2 attached to the battery plate on the rear rods (recording in 32bit float 96khz). I have my trusty old 416 on the camera (I will likely update that to the cs-3e) and cos-11's going into a wisycom dual receiver. i need to have record trigger working as …
Last reply by The Documentary Sound Guy, -
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Hi everybody, i am contacting you because i am in a shoot where we use a sony FX9 (and FX6 as a A cam with no problem) and the problem is the following : We need to put audio in input 1 with Channel 1 and there is literally no option to set it. How to fix this? See the picture below. The first option is greyed out. There is no external option for Channel 1. The DOP can't help and i set on the right of the camera the channel to "ext" and not "mi shoe". I am hoping someone ran into this problem maybe already. Never saw a camera in my life that is litteraly not proposing you options for channel 1... Thanks
Last reply by Dave Young, -
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1/8" stereo mic/line input, and BNC timecode
Last reply by VASI, -
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I'm looking for a small plate or holder that will help me mount a TC box (I have Denecke JB-1s and Tentacles) or perhaps a G3-sized RX to camera cages/plates 1/4-inch and/or 3/8-inch mounts. There is a bracket made for Tentacle Sync Es, but Denecke didn't have any recommendations. So I turn to all of you: What do you use to mount TC boxes (especially) to cameras besides velcro and such? There's this bracket made by Lanparte for Tentacle Sync E. Sizing is a smidge different from JB-1 sizing. But does anyone have first-hand knowledge on if you can wedge a JB-1 into this? https://shop.tentaclesync.com/product/sync-e-bracket-by-lanparte/ …
Last reply by Paul F, -
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I had my first job with an Amira a few days ago and had trouble setting line level. I couldn't get the level low enough and while it was only guide track and seemed to sound fine, I switched to mic level and all looked and sounded fine. It's hard to be specific without the camera in front of me, but has anyone else had the same issue/problem? Thanks, Judy
Last reply by James Louis, -
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Shooting with 2x ursa mini pro g2’s today and on the side screen of one of the units i noticed my timecode was coming in but the camera itself was not syncing to external tc. Numbers weren't rolling. I was fortunate to have spare time to lookup the manual while setup was happening. Thought this info i found buried deep in the ursa manual might be helpful to someone whom may encounter this. there is no menu for tc but rather button pushes to set and change modes. Time of day tc is default. If you hold the timecode button on the side under the lcd panel for 5sec it enters record run mode - which is what this cam was stuck in and dp had no idea. It was a rental. To…
Last reply by Christian Spaeth, -
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Here's a lame feature of the Sony Venice that the Sound Department should know about. Timecode can be input at the BNC TC-in, but cannot be output there (What was TC-I/O on 5/55 is IN only)) Timecode Out is available at the AUX 5P Lemo which looks like ARRI/Ambient Lemo std 5P, BUT TC In is not connected at the Lemo 5P., so if you were expecting to lock Venice TC via the Lemo 5P~~~~ As Tony Soprano used to say: "Fugettaboutitt" As a tribute to the Italian roots of the "Venice" can we nickname the camera "The Sony Bennett"
Last reply by Pajol, -
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I'm mixing a short film for a director who owns this camera (discontinued 8K beast from 2012). The audio and TC is all very straightforward. But in a discussion about hops and backup recording, he messaged me: "I'm seeing that the F65 takes 16 channels of embedded audio through an aux sdi input. Does that help you at all?" I'm not sure what this even means: is there a breakout box or converter that would convert my ISOs and send them to camera? Or is this via AES? The SDI aux input is BNC. Here are images from the F65 manual. Thanks to the brain trust!
Last reply by sonicfruit, -
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Hi I found the wiring for red 5pin xlr. I'm Wondering if I can wire the LR receiver Ta3 mono to a 5pin xlr out to both Red channels as client likes to playback most takes. Having both speakers playing on monitor would be more "professional" though I understand it would not give me that much more volume. I'm unclear of phases issues with this kind of wiring. Thanks
Last reply by Conor, -
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- 6k views
I was surprised to learn this week that somebody is planning to make a documentary film on the history of the Bolex camera: "Beyond the Bolex." I have great nostalgia for the Bolex, because it was hugely important to many 16mm news photographers and documentary makers in the 1960s and early 1970s, and I have some fond memories of using one occasionally in film school. All of us there dreamed of owning a camera like this during those years; it was the coolest of the cool. The Bolex had a unique, interesting design, and while there were much better cameras (like the Eclair NPR and the Arriflex M and S), the Bolex had an interesting charm that made it unique. Watch …
Last reply by rodpaul, -
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Hello, I wanted to know if anyone has run issues with running timecode to the Sony Fx9. I didn’t have time to troubleshoot the FX9 last time I worked with it so I ended up just sending a camera hop for reference. I tried to use a jb-1 denecke and a 664 to send timecode to the camera with the settings stated in the manual but had no luck with it acquiring sync. I tried to toggle through the timecode settings in the camera menu but didn’t have time since we were in a crunch. Just curious if anyone has run into similar issues?
Last reply by Freeheel, -
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Checking to see if anyone here might know if it is possible to turn off the audible beep alarm on a sony f5 at the headphone jack. I see system menu settings for alarm trigger parameters but not for audio level of alarm specifically as i rtfm
Last reply by osa, -
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Hey guys! I’m an iPhone photo taker, nothing fancy. However, I take a lot of bug photos and would like to branch routerlogin out to a good camera for macro photography, but also something I’m not going to have to baby in the field? If that even exists? Any input it welcome thanks 192.168.0.1
Last reply by borjam, -
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Yesterday the new Sony FX6 got announced (which I bet will end up becoming the #1 camera choice for many folks, replacing the dominant #1 market share position that the FS7 has had for years. As like the FS7 before it, this new FX6 hits the sweet spot for a lot of features at a very good price). Of course a lot of discussion online is comparing the Sony FX6 with the cheaper Sony a7Smk3, but one comment in particular stood out to me just now: "this camera will most likely get Netflix certified whereas the A7sIII probably never will." Which instantly made my mind go *click*! Ohhhhhhh........... now I realize why the FX6 has Timecode I/O when the Sony FS…
Last reply by berniebeaudry, -
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- 24 replies
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I worked with an Alexa Mini for the first time recently, sending two discreet channels of audio to the A-box. I had the ARRI operating manual and the audio menu seemed simple. But, I allowed the AC to read the menu while I told her what the settings should be. I was overconfident. I later heard from the editor that we recorded the two discreet channels summed together on the camera's track 1, and the same two channels summed together on track 2. My independently-recorded backup files had each mic recorded on its own track, so problem solved. But, I would still like to know what was set wrong in the camera's menu. I've never heard of such a thing before, and would…
Last reply by IronFilm, -
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Hey Everyone, I'll be on a shoot soon with a Black Magic Pocket Cinema Camera. Previously I'd been using a QRX100 (feeding the 3-pin mini xlr), however production will have two mixers on the coming shoot with only 1 QRX100, so I may have to use another option. Hence I was wondering if I could send both audio and timecode from a Zaxcom ERX into the Black Magic's 3.5mm input jack. In the manual it says that the Camera will accept timecode into the left channel of the 3.5mm, does that mean that I can use channel 2 audio on the 3.5mm? Cheers!
Last reply by VASI, -
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- 510 views
You'd think companies which are making products for film production would bother to put care into making them silent?? But no, we have noisy cameras, noisy lights, noisy video wireless TX/RX, and noisy monitors. Just finished a shoot which had a director's monitor so loud I was initially questioning if the air conditioning was still on. And there was no way to make it quieter either. Just seemed unacceptably loud when you're only a few feet away from the actors in a quiet scene, but I couldn't very well kick the director out of the room (ha!) or tell them to look at the focus puller's monitor instead (and there was no other monitor available that could be used. Sigh. …
Last reply by PMC, -
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If the camera department has refused to put a timecode box on the ARRI, then how well will it hold sync if at all while switched off? (or if they do any other funky things like going off speed then back to normal, I remember the C300 mk2 for instance would get TC messed up if you did that without a TC box) I'm asking about ARRI cameras in general, but interested to hear if specific ones such as an AMIRA etc are worse/better.
Last reply by KenLac, -
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I have a shoot on Friday that will be using a Panasonic camera (some flavor of eng style rig) I'm finding that the person I'm able to speak doesn't know much technically. Info is hard to come by i.e.: exactly what model the camera is. As for frame rate they told me 720/60. This is for US television so I'm thinking the 60 is actually 59.94. So if I want to jam the camera is it possible? Would I use 29.97 on my Nomad? Drop or non drop? I'll have more info on the day of, but this is a traveling group and it takes forever for them to get back to me. Thanks!
Last reply by KenLac, -
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Hello all, 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…
Last reply by Matthias Richter, -
- 30 replies
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Hi guys, i'm on a show with alot of driving so we have rigged one of the trucks with a timecode slate and i have split the audio input on the go pro's to put linear timecode on track 1 and scratch track audio on track 2. Everything is powered of the truck through an inverter so we dont lose power. we are also powering the gopro's off an inverter. for some reason when we tested it this evening there was a colour grain on the gopro footage. it appears the timecode is freaking out the gopro's picture. it seems unlikely but we've looked at most of the other components and it seems to be the only solution? Why would audio freak out the video signa…
Last reply by Allen Rowand, -
- 10 replies
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Here's what I have: Ambient Lockit 202CT and a Tascam DR-701D recorder. Here's what I want: I want a LTC audio signal that is drift free (relative to the wordclock) of the BWF in the DR-701D. Why I want this: I need to make an 8 hour continuous audio recording that can be easily(ish) synced in post to 5+ cameras that are all turning on and off at random. Each camera will record the LTC to an audio track. The duration of each video track will be so short that the difference between each cameras clock and the wordclock/LTC is sub frame. Plan A: If I took the tri-level sync and wordclock from the Lockit and had a magic box that could make…
Last reply by Sound, -
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- 5 replies
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Last reply by Derek H,
