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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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- 1 reply
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I am having a running battle with the 1st AC and how noisy the Preston motor is. He says it is within spec and I say I'm not sure what spec is but I'm telling you it's noisy when we swing any where near the camera. It's not a case of it belongs to him and it is part of his kit rental because it comes from the rental house. We have changed the A camera motor with the B cam one and there is a marginal difference. I will contact the rental house on Monday and have this discussion with them. I guess I'm really just venting and wondering if anybody else has had this problem and what your solution was. Bill
Last reply by Philip Perkins, -
- 4 replies
- 1.1k views
Can anyone tell me if the timecode input for the arri sxt is the same as the mini?
Last reply by JonG, -
- 7 replies
- 1.3k views
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, -
- 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, -
- 16 replies
- 2.8k views
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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- 37 replies
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I did a ton of googling trying to find out how to set up multiple cameras and record multi mics to a separate recorder , that were all recording the same timecode that could be used to synch everything easily and automatically, that didn't require spending close to $1k on hardware.Why I couldn't find a single post describing the following very simple, and cost effective solution, that I would think most budget filmmakers would have figured out long ago, is confounding to meIt's quite easy.You will need the following:A computer with multitrack software. (Free version of Protools)A multichannel interface.Long, balanced 1/4" cables. (make your own) And a copy of the Horae so…
Last reply by IronFilm, -
- 4 replies
- 1.5k views
Be aware; GH5 has 8 frames of silence at the beginning of each clip. (At least in the 4K material I got.) Now, Avid MC can read AUX 'sorta kinda' from these clips (it's hit and miss), but it will set the start TC to the first found LTC frame, thus being off by 8 frames. Other applications (including mine) are smarter, but do warn your clients if they are on MC (Not sure if that is a fixed offset though, but a quick and dirty fix is to (positive) offset the BWF's by 8 frames.) How do I know? <rant> Got a job to convert 5 shooting days of GH5 material to something else, since MC cannot natively read these files. No…
Last reply by Bouke, -
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Have coming up soon my first shoot with Super 35mm film. And am wondering what should I do and recommend for ease of post for them afterwards? (of course there is always the slower manual way of lining up slate IDs for each take, and we'll of course do that as a back up resort but hoping we can use a better option?) I've been doing research myself, but it seems there are a fair few variations/opinions here. (and I should get in touch with their development house as well? To see if they can handle AatonCode or ArriCode or whatever it is that the camera has as an option, which I'll spend a tech day on next week to see the cameras in person so I can get a better feel …
Last reply by chriskellett, -
- 11 replies
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Starting a project using Alexa LF cameras. Anything unusual about the Time Code connection, or is it just the usual 5 pin Lemo? I looked at Arri's website and only came across the usual sales info, but nothing specific about TC connections. Best Jim Rillie
Last reply by IronFilm, -
- 8 replies
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Hey everybody! I have a shooting soon of some short documentaries and I am deciphering the best way to set the sound. So, we're going to work with an Alexa Mini (already that's a problem). The director wants a reference to the camera and I was thinking of creating a Wireless Hop with a sennheiser G3 (it's what I have on hand and there's no budget for something better). I have a sound device mixpre 6 with output 3.5 jack to which I want to connect a 3.5mm Stereo Splitter, 3 Males, to connect 2 G3 transmitters, one that goes to the receiver connected to the Alexa Mini with a male adapter xlr to 5 pin lemo. And another to the receiver of the director …
Last reply by Tatiana, -
https://www.kickstarter.com/projects/patflynn/switchpod-the-minimal-versatile-handheld-tripod (Me, i gots no affiliations of any kine)
Last reply by IronFilm, -
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- 959 views
Did my first shoot with a Tentacle Sync E, a Canon EOS 7D Mk 1 and a Sound Devices 10T. All went well until the import of the video and audio files into Tentacle Sync Studio. The software checks that the timecode is correct and shows that the audio and video are in sync. Except that they're not: the video lags the audio track, on which the LTC is recorded by, according to some research that I did on the internet, "1-2 frames" and you can correct for that that in the Tentacle software. However, clips from later takes still looked to be out of sync and needed 4-5 frames of correction. As this was a quick and dirty session, there was no slate (I don't normally do this kind o…
Last reply by IronFilm, -
- 0 replies
- 747 views
I use a Lectro UCR100 for standard link. Camera has to use a box as I only have mini to xlr cables. Direct for line and the gray padded (-45db) for mic.
Last reply by boomsound, -
- 1 follower
- 4 replies
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I've been trying to resolve an issue on a shoot where I've been getting interference on my wireless boom setup. I'm using 2 x Schoeps CMC/MK into Lectro HM and UC400A on block 24. It doesn't seem to matter what channels are selected but it only occurs on the HM not the UC400A. I've tried an alternative HM but the problem persists which sounds like an induced low frequency buzz like you might get from a light on a dimmer. The only piece of camera gear that I haven't come across before is a cine RT focus bug - its only on the B camera and when we use the A camera only there is no problem. Has anyone else experienced similar issues ? Thanks in advance.
Last reply by Wandering Ear, -
- 2 replies
- 1.1k views
Doco shoot, happening in 2 adjacent rooms at the same time. Me solo on sound. I work with the A cam doing interviews, verite etc in one room, B unit is a solo shooter with a...Red Epic in the other. Ok--so in addition to recording the wirelesses from that set on my rig and a 2nd rig, we need a mic on the camera as well. Lots of emails re: ref-track hop+TC box+mic mounting on the camera. On the day: oops! The brand new RED firmware has eliminated P48 mic powering! So....Mozegear PAPI to the rescue again--plugged into the back of the mic and powered off of DTap. Be warned, folks: it's now not just the Alexa Mini that needs phantom+preamp love when the client asks fo…
Last reply by Philip Perkins, -
- 3 replies
- 3.2k views
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, -
- 3 followers
- 11 replies
- 1.9k views
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, -
- 1 follower
- 13 replies
- 8.5k views
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, -
- 1 follower
- 22 replies
- 7k views
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, -
- 10 replies
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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, -
- 1 follower
- 24 replies
- 9.9k views
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, -
- 1 follower
- 3 replies
- 1.4k views
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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- 2 followers
- 27 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 jan00147, -
- 1 follower
- 11 replies
- 1.8k views
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, -
- 3 replies
- 1.6k views
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,
