Cameras... love them, hate them
- either way, we are doing "sound for picture"
386 topics in this forum
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- 2 replies
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"What is IRIG-B? The IRIG-B time code is used in military, government, power industry, and many other commercial and industrial applications to ensure precise time synchronization. " I know there was a timecode box with a kickstarter or indiegogo that was timecode.io or something for GPS UTP time autoset to SMPTE TC OUT that never made the product as was not funded. With cheap TCXO boxes like Diety and Tentacle perhaps we won't really see it in the field for film and TV. Has anyone worked with the Phantom VEO model cameras and used IRIG-B timecode instead of SMPTE? Was it fed from a GPS receiver at all? Even if shooting at 24fps not high speed? Phantom …
Last reply by Bouke, -
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Curious to know what others have been choosing regarding TC rates for double-system in either 5.3K or 4K in 24 or 30/25 FPS? Are these frame rates to be approached like previous TC settings we have come to know over the years (24 and 29.97ND/25 respectfully)? Or is the GoPro a completely different animal? Has there been any tests to confirm/deny drift rate, assuming it will drift without TC? Thanks for your input. Thomas
Last reply by codyman, -
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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 edward chick, -
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- 26 replies
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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, -
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Do they make a Straight lemo mini 5pin for alexa mini L/R input vs the right angle, and if so does anyone know a part number? First time i ran into this where some gadgetry was mounted on cam blocking the up-right angle plug so i had to go timecode only, but that is how they preferred anyways. Would like to have the option in the future if a connector is available
Last reply by osa, -
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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 TStorm, -
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I am not even sure where to put this topic, so it ends up in the camera department. I've seen some shots on YT some time ago with some GoPro or alike on a boom during take in the past. I can't find them anymore, but it was, in a way, pretty cool portraying our craft. It seems I have a 20min or so sequence shot coming up in a month or so. Hidden cuts expected. Booming this, I'd love to provide some making of footage. So far, the lightest thing my research found was the DJI Action 2, but it's the mounting accessories and their weight specs. struggle me. Has anyone done such a thing in the past or watched it or has any other thoughts beyond "don't put mor…
Last reply by IronFilm, -
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We just opened our internal database to the public...C.A.T.I. - the Camera Audio and Timecode Input database. The goal is to be able to crowdsource new cameras that we may not all come across very often, or discover a camera's idiosyncrasies together. Feel free to use for your own personal use and contribute as much or little as you want. We tried to make it extremely easy to use, but feel free to post any suggestions.
Last reply by Tyler Faison, -
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Last reply by codyman, -
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I have a novel situation and am curious if anyone else has experienced anything like this. It's a long post, so I apologize in advance. I often use 3 Lectro R1a's for camera scratch audio, so they can run off the same transmitter as the IFBs. I converted them to external power running off the camera, using Lectro 9V battery eliminators, P-tap cables, and a milled hole for the power connector. I have a 3.5mm TRS to XLR (tip to pin 2, pin 3 float, pin 1 GND) for audio. This setup has been in regular use, with no issues, for 4 years. Two weeks ago, all three R1a's failed, one after another, on one particular camera. The specifics of the damage are bei…
Last reply by Dean Slotness, -
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https://www.newsshooter.com/2022/06/01/arri-alexa-35-first-look/ 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…
Last reply by Rick Reineke, -
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Heya! I guess most of you are familiar with mki and mkii of this camera. Its straight forward to slap on a TC box, set TC to in, preset, free run and its all thats needed to run smoothly. I could not get it to work on the mark iii today. Has anyone got a similair experience or got any 'gotchas' they could share? Only thing I can think of in hindsight was if the cable was broken or if there was a monitor setting that I didn't catch, but I had the impression that it didn't catch the TC at all.
Last reply by Ontariosound, -
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I'm working on a show with two tiny Marshall car cameras that only output 30fps despite the show being 29.98DF. Does anyone know of an inexpensive, portable video converter to do this? I realize this is not a sound issue but I'm trying to help camera out (and want to make sure my files sync properly). Maybe something like one of those small Blackmagic converters?
Last reply by Bouke, -
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Hi, I'd like to get a scratch track into the Arri Alexa. It has a 5 pin xlr connector and I thought it would be as simple as getting a 5 pin to 3 pin adapter and then plugging in a mic. However, I was told because it is a line level input that it is more complicated than that? This is what the manual says "2-channel analog line-level audio can be fed to the camera via the 5-pin XLR connector located at the front of the camera on the camera-right side." I'm not an audio guy, so I'm not sure what is needed, but all I want is a reference track in the footage even if it's not the greatest quality. Thanks
Last reply by Takeittothelimit, -
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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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- 5 replies
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Hi All, I haven’t been on here in a while but an AC friend just sent me this and he asked me to spread it around so I’ll put it here and other relevant forums to get the word out. I have no direct experience with this issue but this is a well respected AC who really knows his stuff. Has anyone else heard of this? -Dennis “I want to give everyone a heads up about an ongoing issue with the Sony Venice... Be very careful with sound powering any audio receiver via D-Tap when using the Sony Venice w/ Wooden Camera A-Box. I've had one personal experience with a Venice body being fried as a result of this combin…
Last reply by edward chick, -
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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 chriskellyfilm, -
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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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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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- 2 replies
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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,
