Cameras... love them, hate them
- either way, we are doing "sound for picture"
383 topics in this forum
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- 1 follower
- 3 replies
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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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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, -
- 20 replies
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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, -
- 1 reply
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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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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, -
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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, -
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Has anyone successfully run LTC into a GoPro Hero 7? It works with no issues on a Hero 3, but I can't get usable LTC to timecode on the 7. I've tried with Davinci Resolve as well as the demo of LTConvert. If I record raw audio on the Hero 7 LTConvert finds the correct timecode in the audio file, but not in the video file. I know about the Syncbac Pro, but I don't want to buy one because: I already have a couple UltraSync Ones. I don't need to shoot with a GoPro enough to warrant the expense. The Syncbac for the H7 only works with the H7; there's some issue why it won't work with the H8 and who knows if that will be resolved. It's…
Last reply by Bouke, -
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- 6 replies
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I am curious how two FS7's, with nothing jamming them, will often have their timecode very close to one another (not perfect of course, but visibly close) but my mixer is always off quite quickly? Surely a professional audio recorder should hold better TC than an FS7? My theory is that the cameras reset to some sort of internal clock, to the minute, and so when you turn two of them on they "appear" to be in sync.
Last reply by Reg, -
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- 5 replies
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Hi All, I usually see Arri Alexa Minis on my jobs, but have a shoot coming up with three Alexa XTs. It's been years since I've seen a full-size Alexa, so can anyone confirm that they still can NOT take external Genlock from a Lockit box (unlike a Mini or Amira - which can take either Tri-Level or Genlock to TC)? This is a Concert shoot - so I'd normally recommend Genlock. thanks, nick
Last reply by nickreich, -
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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 IronFilm, -
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I didn't find the X-T3 manual especially helpful, and didn't find much online either. So I turn to all of you: Looks like I'll be working with an X-T3 mirrorless camera soon, though I'm not exactly sure what (if anything) I'll be sending to it. Does anyone here have any experience with that camera? I guess my main questions are: 1) For sending timecode, can I treat it like any other DSLR/mirrorless camera, or is there anything unique about this Fujifilm camera? 2) For sending scratch audio, same question. Anything odd? Is setitng levels fairly straightforward, or is there anything extra weird (or extra good) going on? 3) Any…
Last reply by pszilard, -
https://www.ferntech.co.nz/DJI_Osmo_Pocket_3.5mm_Adapter Going to be working with a DJI Osmo Pocket and wondering if I can attach a Tentacle Sync E to it (like I will with their Sony a7 camera) and the DJI Osmo Pocket will record stereo from the Tentacle using this adapter? (and if it is does unfortunately only record mono from the Tentacle, can I still record the DJI scratch mic built into the Osmo as well as the Aux LTC??)
Last reply by daniel, -
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- 769 views
I had a shoot with a URSA mini pro last week and I found the camera VU meter to be somewhat foreign and that I had to turn the volume up all the way on channel 2 and about 80 percent on channel 1 to get any kind of level. I was feeding from a 664 thru a 10 pin cable. Mic level seemed to work but line level was not enough. Any hints. regards John in OKC
Last reply by newzhack, -
- 10 replies
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Hello. I'm trying to sync a Blackmagic Pocket camera with a Nanolockit. I have no problems when music a Tentacle Sync as it reads the TC straight away and sends it to the TC of the camera. But when pugging the Nano, it sends the TC to one of the audio tracks, it doest read is as TC in, which is not ideal. Have double checked the settings of the nano on the Ambient toolbox app. Frame rate is set and all the setting seem to be correct. Has anyone found a similar problem? Any ideas? Cheers everyone.
Last reply by IronFilm, -
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I just worked on a shoot with a prototype Panasonic Lumix S1H, which is their newest full-frame offering. It's designed primarily for video production use, competing with the Sony A7s series. It is designed to be timecode capable, but requires a special cable: BNC-F to a locking flash sync connector. Can't tell you how well it works, because the camera owner didn't have one( I think the idea of using the flash sync input is actually OK, as you will never be shooting video and using an external flash system at the same time). This was, of course, problematic for me, as it was a doc style shoot. I contemplated using my Tentacle sync unit (the camera has a 3.5 mm audio input…
Last reply by pillepalle, -
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Well we have a new camera player against the RED for Movi, drone and even 3D potentially. All I’ll say is its £25k, poor camera guys. What we care about is how to get sound and timecode in the bloody thing. Had the chance to play with one (and a prototype running Amira software) and here we are. Being just a body they have kept things very tight. First let me say the fans are as low as the Alexa but exposed like the RED, again because of the small body. It even goes into a “quiet mode” when recording. I was yet to get out of them if it would slowly get louder or how it prevents overheating. The timecode is like the Amira, BNC. So nice and easy for most. No talk of thei…
Last reply by Rich Reilly, -
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- 932 views
Can anyone tell me if the timecode input for the arri sxt is the same as the mini?
Last reply by JonG, -
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I did a two day job with an Amira a little over a month ago. Suddenly, the camera owner is saying that I fried the audio board on it with my ERX-2. Is this even possible? I mean, even a short to put Timecode over there at full voltage shouldn't fry a board, right?
Last reply by Brian Liston, -
- 7 replies
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Heya! I am doing a project now where we use an Ursa Mini. There is a ticking noise when the camera is recording about 75% of the time. It goes away if I unplug the Tentacle. Has anyone experienced something similair and what could be a solution?
Last reply by Mattias Larsen, -
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- 27 replies
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Hello, Just finished a week of shooting with Sony FS7, the camera man do not want to have the extension module because of size and weight, so we have to go for AudioLTC. I was today in the editing room to sync the files, even FCPauxTC or TatancleSync can not read MXF Files.. I am very thankful for every tipps, otherwise we have to convert the all MXF files to ProRess, which the camera man do not prefer to.
Last reply by IronFilm, -
- 4 replies
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Hi There Just wondering have any one experience this error message from Alexa sxt(latest firm ware) running 3.4k raw file. Picture attached below.any way to work around it. Thank you Wp
Last reply by Manii,
