Cameras... love them, hate them
- either way, we are doing "sound for picture"
398 topics in this forum
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I had my first job with an Amira a few days ago and had trouble setting line level. I couldn't get the level low enough and while it was only guide track and seemed to sound fine, I switched to mic level and all looked and sounded fine. It's hard to be specific without the camera in front of me, but has anyone else had the same issue/problem? Thanks, Judy
Last reply by James Louis, -
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Hello, I wanted to know if anyone has run issues with running timecode to the Sony Fx9. I didn’t have time to troubleshoot the FX9 last time I worked with it so I ended up just sending a camera hop for reference. I tried to use a jb-1 denecke and a 664 to send timecode to the camera with the settings stated in the manual but had no luck with it acquiring sync. I tried to toggle through the timecode settings in the camera menu but didn’t have time since we were in a crunch. Just curious if anyone has run into similar issues?
Last reply by Ridley, -
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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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Canon announced today their new "entry level" large sensor camera, the C100. 85% smaller than the C300, AVCHD recording and professional XLR audio inputs. $8000 price range. no timecode I/O. http://www.usa.canon...#Specifications here's vincent laforet's post about it: http://blog.vincentlaforet.com/2012/08/29/canon-c100-leads-to-murky-future-for-mid-to-upper-range-video-hdslrs/
Last reply by studiomprd, -
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Will be helping a friend shoot a short on a 16mm camera this summer. Don't know too much about the camera at this stage but have been told it has a pilotone output for sound sync. Vaguely recall that some Nagra's had an option to record pilotone for tape recording sync purposes but assume it's irrelevant in the digital age? So will be generating timecode and recording everything on my Zaxcom Fusion and obviously will be clapping / boarding all takes with a digi-slate along with voice ident's and supply Fusion generated sound reports. Does anyone have any other suggestions regarding keeping sound sync with a 16mm camera? Unlike my Fusion's internal clock the issue …
Last reply by Wandering Ear, -
- 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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Having worked with this camera a few times now, I have to say it's pretty nice. I like the informative onboard monitor read-out. It's small and quiet, except when it's idle (no cutting early or rolling late on multiple cameras - which you can do on the Alexa). I've recorded in a small room with three of them, and didn't find it problematic. I guess the Scarlet is same thing, except lower processing power, so fewer features. No concern of ours. I haven't run into any TC issues, but the projects I've done would likely not have issue, or would not report issue to me. The Alexa continues to be a camera department favorite. The Epic seems to be the nerd favor…
Last reply by Marc Wielage, -
- 9 replies
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How the West Was Won (1962). John Ford, Henry Hathaway,George Marshall & Richard Thorpe Cinematography: William H. Daniels, Milton R. Krasner, Charles Lang & Joseph LaShelle Anybody work with one of these cameras ?
Last reply by mikewest, -
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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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Believe it or not, the movie I am starting next week has gone back and forth on film vs. digital, and they will not make a decision until sometime next week. So, my question to all those who have worked with Alexa, I need to confirm a few things. From what I have learned so far, I should be at 48K sample rate and 23.98 tc, jam the Alexa from the main tc source (my Deva) and shoot tc slates. I imagine that I could jam a sync box (Denecke, Ambient, etc.) and put that on the camera. There is no plan to put any sound on the camera. Let me know if I have this all in the ballpark.
Last reply by johnpaul215, -
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- 28 replies
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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, -
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Let me preface this post with the fact that I have been working on a small documentary piece and was hired to shoot video, stills, as well as capturing audio (yes, that is unfortunate). With our shoot requiring some international travel and thus a smaller footprint, I decided to leave behind our MOVi/C100 stabilization rig in favor of the much smaller DJI Osmo. Doing so allowed me to shoot with the Canon C300, but could also mix in a little stabilization when needed. My question going into the shoot was how practical would it be to do a walk and talk setup while still recording our subjects conversations? I knew that one of my shoo…
Last reply by Casey Preston, -
- 23 replies
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No doubt this has been covered before? I couldn't seem to find anything though? What my options for TC to DSLR, in my world these have become the Pro Camera for most shoots? However re-syncing audio, or syncing multiple camera's is a pain. Im thinking of adding a Lockit Buddy http://www.lockitbuddy.com to my kit? is there any other options I should look at ?
Last reply by studiomprd, -
- 11 replies
- 6.1k views
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, -
- 25 replies
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Anybody work with these? According to the web (cameramen) blogs they are quiet. I would be grateful for any shared experience. Here's the quote: "The SR3 Advanced had a noise specification of between 20 dbA and 22 dbA. The 416 has a noise specification of below 20 dbA. This was accomplished by using rubber insulators to hold the camera body's inner skeleton and by having the internal skeleton of the magazine also held by rubber insulators. The magazine is also not driven anymore by a gear from the camera, but by its own silent motor. Running the camera containing a 400 foot load running at 24 fps, I had to press my ear against the side of the camera to tell if it …
Last reply by Marc Wielage, -
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TC in and TC out. Exchangble PL EF B4 mounts. BIG METERS on the side...
Last reply by GNinja, -
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I was surprised to discover today on the RedUser forum that a couple of Swiss film technicians have come up with a fix for the Red Epic fan. One of them is cameraman Patrick Tresch; the other is Jacques Sax, the founder of the famed mixer/recorder company Sonosax. The unit is basically a small $800 metal brick that bolts on top of the camera, and has a "nearly silent" fan that blows into the intake port on the back of the Epic. (Yes: a fan in front of a fan.) The idea is, this very quiet fan runs 100% of the time, and prevents the bigger fan from ramping up and going into leaf-blower mode. It looks like this: I have no idea how well it works in the re…
Last reply by Patrick Tresch, -
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I'm prepping to do an outdoor run and gun style reality shoot, and am looking for a good solution to use my SRB recievers on their EX3 cameras. In the past I've done the fanny pack setup, but this show is going to involve a lot of running through the woods, etc and I need something sturdy that won't snag on things so easily. Suggestions? Do brackets for SR receivers exist? I appreciate your input!
Last reply by markfarrowaudiopost, -
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- 9 replies
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Just worked with one of these last week and pleasantly surprised that this has a 5 pin Lemo in and seems to hold time code surprisingly well! Had no chance to explore the audio section but this seems to be a solid step up from the Dragon and from the Alexa mini for that matter.
Last reply by Michael Manzke, -
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Just caught a column on the website 4KShooters.net on how some people are jury-rigging the Sony A7S -- which is a very fine still camera -- to shoot "4K" shorts and other projects. The only problem is, by the time you add all the crap to it in order to make the camera workable for timecode, monitoring, sound, follow-focus, batteries, etc., what you wind up with is this: As opposed to, say, the Arri Amira: Tell me which one makes more sense!
Last reply by Philip Perkins, -
- 23 replies
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This story was told to me by Dougie Milsome who had been the focus puller on Kubrick's Barry Lyndon. There was a scene which Kubrick wanted to have lit by candle light alone - and what is more a candle unaided by any enhancement such as a tiny light stuck to it. The film stock in the mid 1970s was not suitable to be pushed to that limit without severe degradation, so a lens was borrowed from NASA that was very, very fast; it did the trick and the result can be seen in the film. Extraordinarily beautiful. Dougie told me how he coped with the almost non-existent depth of field that posed a problem for shooting this scene. The slightest movement toward or …
Last reply by Mark Farag, -
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- 43 replies
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A bmc owner sent me this today:
Last reply by Richard Ragon, -
- 7 replies
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http://www.bbc.co.uk/news/technology-16163931
Last reply by Marc Wielage, -
- 2 followers
- 26 replies
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As of right now, I'm syncing all my audio the ARRI Alexa Classic with the time code boxes by Tentacle, which works perfect. Just wondering in conjunction with this, I could possibly get a crappy little scratch audio track into camera as I still get this requested by the editor. I've sent wireless audio to camera with a hop before and that works great, but I'm also trying to think of a way to get a tiny little mic on camera, but bring it to line level to that the Alexa can actually record it. I have an MM-1 but that's still bigger than I'm hoping to go. If anyone knows of a cheap little preamp, doesn't have to be professional, just something that would work tempora…
Last reply by Gerard-NYNY, -
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- 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,
