Cameras... love them, hate them
- either way, we are doing "sound for picture"
413 topics in this forum
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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 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.
Last reply by Aprikot, -
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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 RadoStefanov, -
This discussion is for jobs where the producer/client tell you that one or more cameras will be iPhone X,11,12,13,14,15,16,17 and using Blackmagic Camera ProDock. Blackmagic Camera ProDock Announced September 2025. more photos here $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 iPho…
Last reply by PCMsoundie, -
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Not sure if this exists here or not but I think if we could make it happen it should be a sticky somewhere. 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 fra…
Last reply by Blackdawg, -
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Has anyone experienced this? I've tried powering the RED Komodo via a V-Mount battery (through Core SWX adapter), and plugging the MixPre 3 II into either USB or Dtap out to USB-C. 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?…
Last reply by Blackdawg, -
Sony announced today a new camera which will 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. 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 an…
Last reply by PCMsoundie, -
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So the premise is as follows: 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 hin…
Last reply by Mungo, -
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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?
Last reply by Philip Perkins, -
Last reply by mono, -
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Last reply by Izen Ears, -
For years I've been hardlining my video feed to my cart, not wanting to get into the every changing wireless video and congested 2.4Ghz 5G frequencies used on busy sets. 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 …
Last reply by PMC, -
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Last reply by Mark LeBlanc, -
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ARRI has been announcement a new camera, ALEXA 265. ==== https://www.arrirental.com/en/cameras/digital-65-mm-cameras/alexa-265 ==== From sound POV:
Last reply by Patrick Tresch, -
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I'm on a shooting now with a Sony FX3 and Atomos Ninja external recorder, all the images are recorded in the external Ninja recorder. I'm using a Zaxcom Nomad, TC comes from external tentacle sync, one is feeding my recorder and a second one feeding the camera. However, the editing room reported the image and sound were frequently out of syn, the offset was not constant, it varies from -12 frames to +10 frames. Has anyone had similar experiences with this combination?
Last reply by Tong0615, -
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Hello all, 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…
Last reply by LuisT, -
f55 tc issue
by LC21- 1 follower
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hey all. Currently shooting on an f55 at 24 fps. jamming from a 664 (on 24hr run) via an acl 203 lockit. camera tc settings are: ext preset, free run and external source pops as soon as the lockit is connected. post says that my separately recorded sound is ahead of 1 frame on every clip. am I missing anything here? Thanks.
Last reply by LuisT, -
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Has anyone dealt with these stupid things and figured out how to quiet the fans on the transmitters? I’m dealing with 3x of these Storm 3000 on set and the fan noise is significant on quiet scenes. The assistants have no idea how to control them and the user manual says nothing substantive about almost anything. 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.
Last reply by Derek H, -
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Hello, 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
Last reply by Jim Feeley, -
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Hey everyone, 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 …
Last reply by rickybarbs, -
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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 Fred Salles, -
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Making some cables for a friend of mine out of town. Looking at the manual for a C 70 I don’t see the pin diagram. Does the mini XLR connector follow the pin numbers on the connector or does it follow the pin configuration of a standard XLR?
Last reply by osa, -
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I tried to sync the Sony FX3 via the new timecode cable, which connects to the sony multi port and translates an LTC-timecode to Video timecode. 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?
Last reply by touchdown, -
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Anyone got experience with the 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.
Last reply by Matthias Richter, -
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Just saw it on Slashdot. Press release linked. https://www.nikon.com/company/news/2024/0307_01.html
Last reply by JesseF, -
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Is the VSYNC signal (out of a VGA adapter) an OK way to measure and analyze the frame rate and clock output of a prosumer video camera spitting out HDMI? My goal is to determine if the TC OUT of cameras is generated by the same circuitry that reads out the image sensor... if not, an easily detected drift will occur between the two clocks (and that would be a shame: I know #timecode is not genlock, but sapristi, c'est supposé être un signal de synchro). Surely the DACs inside this adapter introduce some lag, but it should be constant and therefore won't produce any phase roll between VSYNC and TC.
Last reply by lutzray,
