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Cameras... love them, hate them
- either way, we are doing "sound for picture"
398 topics in this forum
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- 19 replies
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Hello, long time lurker here, and thank you for a great forum. I'll cut to the chase: I just came home from a C300 shoot, SD 664 directly to camera. I was wondering if anyone else was experiencing a little hiss on the C300 return feed, and reading the forum posts, I reckon this is a common thing. I stumbled upon an unpleasant story of someone having a days work ruined by this "ch-1 goes to ch-2" setting, I did not check for such a setting today, and had no time for playback check, so just to be 100% sure: If I'm getting two separate channels in the return feed from the C300 headphone output, the C300 will in fact record those two seperate channels, am I right?…
Last reply by dirchpasser, -
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- 19 replies
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I was recently asked to provide a reference audio track on a Red Epic (short for Epidemic). This camera emits so much RF hash that three different (model, freq, etc) recievers were swamped and could not get near this camera without interference and noise. I recommended a lead-lined helmet to the operator.
Last reply by Marc Wielage, -
- 18 replies
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As Alexas, Alexa Minis and Amiras can Genlock or sync from the incoming timecode stream, they can be genlocked to a Tentacle Sync box just as they would any other brand. I'm wondering if anyone has experience doing this successfully as I have a gimbal cam operator who'd prefer one, but a client who's a little unsure of the tiny Tentacles, and I have no direct experience with syncing from it. We can't get the cameras in advance for a meaningful test. These are long-take concert recordings where sync is required to reduce TC drift.
Last reply by PRSoundCrew, -
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- 18 replies
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Just got off another RED shoot (Scarlet, this time) and I've finally had it. It's not that it's the camera's fault - The problem is that morons can afford to shoot on RED. Obviously RED has some serious shortcomings with sound, but they're cameras - They're not audio recorders. Good productions understand this, but many productions don't. I thought I would share some experiences of when RED problems have become my fault. 1) RED One MX audio error: Not too long ago i worked on a short shot on a RED MX. I had NOTHING to do with the camera - no timecode and no sound to camera. Along the way, the camera started shutting down due to "audio errors." Turns ou…
Last reply by studiomprd, -
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I was asked to setup an Epic to jam sync to external timecode from a slate today. The timecode source menu was switched to external and the incoming timecode was verified by a green highlighted "TC" element in the main display. The timecode appeared to auto jam correctly as the Epic timecode numbers continued to count correctly after the external timecode was disconnected. What seems odd is that the manual says the camera can be placed in "Jam Sync mode" and there is a "SYNC" (Jam Sync) element on the main display but there is no description of how this actually works or under what conditions the "SYNC" element would be highlighted. Firmware 2.0.5 (current versi…
Last reply by John Blankenship, -
- 18 replies
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So I'm doing a little 2-day shoot next week - F3 cam(s) - not too concerned because so far it seems they're fine with me just tethering to one... the last F3 shoot I did, I used hops (dual Lectro 401's), but had to use the internal rx batts as there was no LeMo DC port (what I'm used to having.) On this last shoot, the operator had 2 external monitors connected to this thing (what a cluster-f**k -- banging into walls... mounting arms coming loose at the most inopportune moments, etc. -- though some kudos to him are in order for kind of being able to operate that way) ...and my hops (because they were a bit of an afterthought) wound up being somewhat of a hinderance a…
Last reply by taylormadeaudio, -
- 18 replies
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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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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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Will the F55 accept and display ext. lock to a TC source without genlock, say from an ERX?
Last reply by studiomprd, -
- 2 followers
- 18 replies
- 8k views
Hi all, This is my first topic post after a long while of lurking and a few replies. I'm glad I finally have something worth posting about! I worked on my first shoot using a RED Dragon this past weekend. (Location was a small New York apartment for reference.) The camera had the 2.0 fan installed. I agreed with the 1st AC to set the fans to 35% for recording, as that has always been a happy position on all the RED Epic shoots I have worked on. During recording I noticed an awful high pitch whine, not loud but not pleasant either. At first I thought it was the result of the electronic HMI ballasts being used. The next lighting setup used all tungsten unit…
Last reply by Patrick Tresch, -
- 17 replies
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Hi folks, Just wanted to write of my experience with using a Scarlet yesterday. I know there is a lot written about the on camera audio situation with the Scarlet, but I had a that had me stumped, and I just want to see if the camera I was using had some major issue with its build or pre-amps. I have shot with most cameras, and many times on the Epic without any issue, but yesterday I just could not get clean audio into this scarlet. Mind you, it was an early model with serial # 79, and hadn't ever had a firmware upgrade. This was helping out an old friend. It was a sit down interview, and he owned the camera. So I ran tone into the camera out of my 552, via m…
Last reply by Marc Wielage, -
- 1 follower
- 17 replies
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We had a second unit day yesterday and the cameraman turned up with a brand new Red Epic. The alleged time code in was a 4 pin Lemo. I thought that time code standard was 5 pin. Anyone come across this 4 pin version? Malcolm Davies. A.m.p.s. p.s. IMHO it may be a brand new model but still a sac de merde. The noise of the fan was unbelievable.
Last reply by studiomprd, -
- 1 follower
- 17 replies
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This may not be the first XLR adapter for GoPro cameras, I haven't really been looking, and those little cameras are a rather regular (net positive) part of my life. But one of these days someone's going to ask me to run sound to this thing...or ask for help for setting up their new really small DIY handheld camera. And I'll cry a little. And then move on... "This Audio Converter is designed to adapt XLR male plugs—industry standard in pro audio situations—into a 10-pin mini-USB stereo plug suitable for GoPro cameras. It features 2x XLR female jacks (for the male XLR connection) and comes with a 15mm rod clamp that can attach to any 1/4"-20 threaded hole. Please note…
Last reply by davedv, -
- 1 follower
- 17 replies
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This could be a handy solution to all our interface challenges with these cameras. Price not too bad either- $ 135 http://www.markertek...a/RD1-BX3.xhtml
Last reply by Marc Wielage, -
- 17 replies
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I'm planning on sending a scratch track to a Red Scarlet via a Comtek. I assume this Scarlet doesn't have the 'advanced' audio option and the inputs are 1/8" like the Epic. Cables, attenuaters, other issues I should be aware of. Thanks. First shoot with a Scarlet.
Last reply by Marc Wielage, -
- 17 replies
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Hey guys, We're using a SD 788T SSD as our master clock, jamming Ambient lockit boxes to it and then jamming both Alexas. We have not been putting the lockits on the cameras as camera department were initially not keen to have them onboard. We started with the standard morning and after lunch jam, but we're told by post that both cameras are drifting by up to 7 frames by the end of the day. We jammed each camera 4 times yesterday - morning, mid-morning, lunch and mid afternoon - to the same result. Even though each camera is accepting the timecode jam and says "system good" after each jam, the drift is incrementally increasing. Today, we put the lockits on the…
Last reply by Donsbach, -
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Hi, Can anyone tell me if there's a fix or menu setting adjustment for this problem so it doesn't occur? Problem: A drop in return audio level drop when cam op hits record. What happened is this. I sent tone from my SD552 mixer to cam via snake cable and set levels. Then on SD552, engaged return A and set return audio levels to "0" to match what I was sending, all good. Sit down for interview, cam op hits record and the return audio level drops by about 10-15db, probably more. So I had to calibrate return audio while the cam was rolling. Then of course when cam stops recording, the return audio level raises and nearly blows my head off. I'm t…
Last reply by seth, -
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There's a new documentary produced and hosted by actor Keanu Reeves, and it presents an interesting history and arguments about how digital has replaced film for production and distribution over the past 10-12 years. The trailer is here: I found it to be a very well-balanced, objective, intelligent discussion of the various issues involved, neither for the digital side nor for the film side. The pro-digital crowd is represented by people like David Fincher and Jim Cameron, and the film side is argued passionately by Chris Nolan and Wally Pfister (among others), while filmmakers like Martin Scorcese take the middle ground. Pretty much everybody agree…
Last reply by Brian Liston, -
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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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http://www.reduser.net/forum/showthread.php?92158-Enter-the-Dragon The part I find interesting is that (later in the thread) both Jarred and Jim say they're having to do major work on the rest of the camera in order to handle the output of the sensor. There probably won't be any external changes to the camera (connectors), but perhaps while they're 'under the hood' they can do some more thermal tweaks and shut the thing up.
Last reply by Boomboom, -
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Hiya guys n gals! I've been following the development of the Aaton Penelope Delta, a 35 mm film camera. Why? Well, it's going to get a digital mag. That means it's a hybrid! It goes from film to digital and vice versa. EDIT: It would seem they've rethought the camera and just made it into one single digital camera. :/ Sad IMHO. Would've been cool to have that ability. Can't have everything I guess. Interesting camera anyhow! BUT: Another really interesting thing is that Aaton also makes the great recorder Cantar-X, and I've read in the Penelope manual that there could be some sort of link between or something like that.. Anyway it should (hopefully) mean…
Last reply by Marc Wielage, -
- 16 replies
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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, -
- 16 replies
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Reading this article there is one line that really jumped out at me: "Due to the size of the sensor and the amount of data being read out there’s still some work to be done around cooling and there’s no firm specs on frame rates yet" - article - In May last year I reported that Pavavision were working with NASA’s Jet Propulsion Laboratory on sensor technology for a possible digital cinema camera. In a surprise unveling at the International Film Festival of the Art of Cinematography (Camerimage 2012) in Poland they have indeed signalled their intention to join the market and have shown the first fruits of their labour with a new prototype. Aimed at bett…
Last reply by Marc Wielage, -
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- 16 replies
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Was confronted with this little rig the other day - Sony A7S with Atomos Shogun. Claims to do timecode, but without any input/output terminal, however it does have a Genlock BNC !? Timecode optionally embedded in HDMI output Sets whether or not to layer the TC (time code) information on the output signal via the HDMI terminal when outputting the signal to other professional-use devices. but then says - When [TC Output] is set to [On], the image may not be output properly to the TV or recording device. In such cases, set [TC Output] to [Off]. Good job I took my timecode slate. Plus the Shogun can - Audio: The Shogun can record 12 channels of digital audio em…
Last reply by Philip Perkins, -
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- 16 replies
- 2.1k views
Hey everyone. I'm currently on a production with a Red One camera and am having some trouble jamming Timecode directly from the 788t. It's one of my first projects with timecode so I'm very aware that it could be my fault. The 788 is in 24 Hour run. Red settings: Sync OFF, Output OFF, Cross OFF. I am first plugging the machines together but I can't see any timecode input in the 788 without first hitting the output option on the Red. After doing that I am able to jam it and I get a little yellow link icon up the top of the Red's display. At first I thought the battle was won but checking the TC on the display indicates it's off from the 788 by 1 hr 20 mins.. Any and …
Last reply by John Blankenship,
