Cameras... love them, hate them
- either way, we are doing "sound for picture"
414 topics in this forum
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On a shoot with FS7 at the moment. Timecode via bnc fed from Ambient Lockit Box. Drift from fs7 of a few seconds in afternoon possibly after battery change. Didn’t think this should happen if fed continuous TC from lockit? Cam on preset and freerun and accepts Timecode when rejammed. Anyone else have any issues with this please? Using 688 to jam lockit thanks
Last reply by Reg, -
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First units appear to be shipping, so I thought I'd worth mentioning the interesting points for soundies: Audio in through unbalanced 3.5mm stereo jack or one channel balanced TA3 with 48V phantom. According to the manual it also accepts TC through the 3.5mm jack real timecode camera metadata (like the MixPre-3/6) If anybody gets a hands on with one of those let us know how it works : ) chris
Last reply by Fred Salles, -
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- 11 replies
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I need an answer for a question which may come up soon. Possibly up to 4 presenters on handheld stick mics, feeding 2 radio receivers on the back of an RF camera on an OB. Is it possible to feed those 4 channels into the camera (no, I don't know the camera model yet) and have them fed over the digilink via SDI, to the truck, so the audio mixer can control the levels independently? Or I give the audio assistant following the RF cameraman a simple mixer and 4 channels of radio, and have him mix them and give the camera a mono feed.
Last reply by PCMsoundie, -
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an Amira timecode question. Film I am on at the minute, the DIT tells me that a few takes a day are 40 seconds to a minute out of sync, whilst everything else is absolutely fine. he can see no pattern to which takes will be out of sync, and it may be take 3 and 4 that is out, and take 5 is fine. Have ruled out the cards camera is recording to as it happens across all 4 cards that they are using. I am using a 788T fed into a Zaxcom cameralink, which transmits to the ERX receiver permanently attached to camera. everything set to 24fps. and i dont believe that camera has gone off speed yet on this film. I believe that the settings on camera are correct and on the ERX. The …
Last reply by SirMixesAlot, -
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Can I jam a Red Gemini from a TR-2 slate and what is the time code input jack on this camera so I can get the appropriate cable? Thanks Mick
Last reply by IronFilm, -
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Last reply by Rick Albright, -
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I know this issue has probably been discussed a lot but I just finished a shoot with the NFL Network and the DP was using a red scarlet. We were in an empty stadium on a hot day so they couldn’t turn the fan down, but it was legitimately louder than the street noise from where I was at. Plus we set up next to the wall along the field so there was some odd reflection and comb filtering happening. I was able to tilt my 416 in a place where it cut down on a lot of it but still not ideal. Anyway, we’re going back to the stadium on game day and probably at least going to have one lav out. With all of the different production and wireless units at an nfl game in th…
Last reply by Philip Perkins, -
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Anyone know anything about timecode input for IMAX 3D digital cameras? I'm doing a shoot with 3 of them, wondering what kind of input they take and if they hold TC? Or do each of them need a lockit? Can't find much info about them online. Any answers would be much appreciated, production is pretty slow to come up with any info. Thanks!
Last reply by cjh, -
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Hey Friends, First post here. Just have a quick question regarding an audio issue on the Red Weapon 8K camera. Got an email this morning from the DP saying there's weird signal noise over the scratch track on the footage. We were shooting 23.98, I jammed with a Denecke lockit and was using a Sound Device 788t recorder for the project. I had 1 UCR411a hop on the Red sending a mono-feed/scratch-track to Ch-1 and was sending mic level to the camera. Basically what it sounds like is that the Timecode signal itself was being ingested into the audio/scratch track. I'm wondering if this is an internal setting on the Red Weapon 8K, or if anyone has experie…
Last reply by Philip Perkins, -
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Published Tue, 26 June 2018 Chris Morris, CNBC contributor Intel has unveiled a new technology that captures actors, players and objects in volumetric 3-D, letting viewers see things from a near infinite number of angles. Called True View, multiple cameras with multiple lenses offer a 360-degree view of a scene or event. Viewers can choose the camera position and angle they want — and zoom in on a moment at will. The Los Angeles-based state-of-the-art production studio, which opened in January, is dedicated to the production of virtual and augmented reality. At the center of its 25,000-square-fo…
Last reply by Dalton Patterson, -
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A quick anecdote: I recently did a reshoot for a film using two Red Heliums (they said the 8K was mandatory). The fans, even at their lowest settings, made everything on the booms unusable. Once that was clear to everyone and they decided to max out the fans anyway, the cameras were still overheating and would cut after about 8 minutes, not long enough for the takes we were doing. They had to bring the cameras outside the stage to cool down. Anyone ever hear of anything like this with the Helium? Camera department tried everything to no avail.
Last reply by chrismedr, -
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Am about to do feature that may use the new DXL2 camera, it has the Red 8k sensor but they have a much upgraded cooling system so hopefully less problematic. Any user reviews re noise and workflow, audio/tc inputs etc, will be feeding audio and TC from zax ERX. Thanks, Chris.
Last reply by cjh, -
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Am shooting a feature film at the moment with 2x Sony PMW-F3, and yesterday I couldn't get timecode working at all with A Cam. Because they're F3 cameras which only do 8 bit internal but have 10 bit external, we were only using external recording with them. I had no problem at all having correct timecode on B Cam's recorder, but we were using an SDI recorder on that one. However was impossible for me to get it working on the day with the A Cam recorder which was an HDMI one. Has any one else encountered issues before with timecode from a Sony PMW-F3 over HDMI?
Last reply by IronFilm, -
Guys, shooting a series. Director insist on whispering actors... And it's a goddam Red!!!! Fan is killing me!! Anybody knows the setup on a red Scarlett dragon for the fan. Right now it's on adaptive preview and quiet recording... And it ain't quiet on recording!!!! Thanks Pascal Sent from my iPhone using Tapatalk
Last reply by IronFilm, -
https://support.red.com/hc/en-us/articles/360001379467 The sheer utter madness of it all!! Just plain weird. Maybe RED should post out free little stickers to every owner to "correct" the labeling on their RED cameras!
Last reply by Johnny Karlsson, -
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I am working with a new camera next week... Does anyone have any experience doing a timecode synch with a C100?? What cable is needed? I will be using a SD633 a TIG Q28 to synch Thank you !
Last reply by Constantin, -
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Question.... when I do a direct feed via a snake from the mixer to the camera, what is actually recorded to the camera ? Is it the mix or are any iso tracks recorded ??
Last reply by Dalton Patterson, -
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- 65 replies
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I did my first shoot on one of these today. A few things to note: 1) There's some kind of internal level setting, from 0 to 99, that seems to override the pots on the side. Presumably it's so the operator can fiddle with levels with his thumb (I didn't have time to check). You can disable it in the audio input menu, from memory it's something like "LVL + SIDE 1" and "LVL + SIDE 2". I switched it to SIDE 1 and 2 only (this disables the level control). 2) As with the F5 and F55, it forgets if the headphones are mono or stereo. So you have to go back into the menu and change it from one to the other to get it to "remember". 3) I couldn't find a timecode sock…
Last reply by IronFilm, -
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Arri has finally introduced a 4K version of their popular Alexa camera. Note they are quoting the exact same specs for audio and timecode as the original Alexa cameras. And for sound, note the noise levels: Sound level ≤ 20 db(A) while recording LF Open Gate ProRes 4.5 K 4444 @ 30 fps and ≤ +30° Celsius (≤ +86° Fahrenheit), measured 1 m/3 feet in front of the lens Industry reports have it that Arri finally yielded to requests from users who needed to provide original programming to Netflix, Amazon, and other services that demand 4K (or better) material. Details here: https://www.arri.com/largeformat/
Last reply by Patrick Tresch, -
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What dB pad is right to use with a mini XLR to XLR cable for the original RED ONE? As it appears the original RED ONEs (later RED ONEs had this fixed) had an issue that audio in would distort, so RED would sell cables with a built in pad. But I can't find info anywhere as to exactly what specs that cable had. (my friend with the REDs owns one of these original cables from RED, however it has no markings whatsoever as to what strength dB the pad in the cable is. And we need four of these cables, but he only owns one) My plan for him was he should buy the Laird TA3M Mini XLR to Female 3-Pin XLR cable for a RED ONE (but this cable is for the latest generation RED O…
Last reply by IronFilm, -
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Update to gh5 that incorporates TC I/O: Another feature that will entice serious videographers is the GH5S’s Timecode In/Out compatibility, which is easy to set using the flash sync terminal and bundled coaxial cable for a BNC terminal. The camera can be used as a Timecode generator for other GH5S models and professional camcorders, and the functionality makes multi-camera productions pain-free by instantly synchronising recordings to other cameras or audio devices. Read more at http://www.trustedreviews.com/reviews/panasonic-gh5s#kwMYVDH32GOMFW4q.99 :
Last reply by IronFilm, -
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Aaton is trigered (start/stop) with simple non stable button. I'd like trigger audio recorder same way but most use dedicated remotes. Any idea which recorders (portable) can be started/stopped with one button? I want keep setup simple as possible. Zoom is nice because record 10s earlier.
Last reply by traut, -
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- 6 replies
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Dear all, we're going to shoot in kind of extreme environmental conditions in the next months. So perhaps you can help me. How do you decide which camera to use? At which criterias/parameters are you looking at? In most data sheets I can only find the paramters temperature and humidity. What about dust and rain protection(I can't really find IP-classes or stuff like that)? And also when it comes to transport and storage. I'm thinking about really hot temperatures in a car or damaged streets so that the camera get's shaked a lot. Did you ever had problems with stuff like acid rain in industrial places? What abut going from warm into cold places and vi…
Last reply by bilagaana, -
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Yesterday I boom opped a commercial that had the strangest interference occurring over with wireless systems. It was a faint, fast, rhythmic rumble. It took the mixer and I all day to figure out the problem. Luckily the boom was clean, but it damn near drove us nuts trying to figure it out. We changed frequencies about a dozen times, which seemed to help in the short term, but right when we went for a take the sound persisted. We swapped it cables, and several other 'fixes'. Heck we even wondered if it was the boom acting as some kind of antenna because it would coincide when I raised my boom up for a take. Turns out it was the camera's range finding system! They were…
Last reply by Philipp Sehling, -
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Dear All I'm following this group as a guest since long time, and this is my first post, and I'm quite shaking because for me is agraria thing to be part of this milestone group. Now I like to know if anyone of you have experienced this new Tilta extension for Red Weapon. I know Red are quite discussed noisy cameras, but this Tilta device I have on set right now is killing me. This device has a no controllable fan that is totally separated by the camera body. I wrote a repairs to my production company and the answer was "you are the first one complaining for this brand new device" i have recordings that I can upload if is necessary, but my que…
Last reply by Patrick Tresch,
