Cameras... love them, hate them
- either way, we are doing "sound for picture"
398 topics in this forum
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I mostly do jobs where we record audio directly on camera. 2 channels from my mixer to camera and a stereo return feed so I know the audio is good. Now with the SD 552 being able to send 4 separate channels via AES, how are we supposed to monitor those 4 chanels? I mostly work with Sony XDCAM cameras, and it only lets you monitor 2 channels at the time, even thogh it can record 4. Are there other cameras that will let you monitor all channels? I was thinking about using the recorder in the SD 552 instead as a back up while recording 4 channels to camera, but it seems the built in recorder can only be routed to one of the AES pairs, so that wouldn't work either…
Last reply by Rasmus Wedin, -
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On a shoot today the DP had a Canon 5D MkII. Audio was sent wireless to camera via a Sennheiser EW100 G3. Good audio levels were showing up on the audio screen of the 5D, but audio was not recorded onto the CF card. Picture was fine. Internal camera mic worked as well. No problems with the hop or cables, and the meters were reading good input level on the camera. Super strange... Anybody run into this problem in the field? BTW, audio was captured on the SD664 with ease!!! Steve Wytas www.audio911.com
Last reply by studiomprd, -
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Hey guys! After an afternoon of testing I wanted to share some settings that worked well with a BlackMagic Pocket Cinema Camera in various scenarios. I have one done right now and I'll hopefully get more time to sort out the others. Scenario 1: BMPCC + Tascam DR-60D To get a good signal out of the pair you need to use the following settings: DR-60D: 1. Use the Line Out instead of the Camera Out. The hotter signal works much, much better with the BMPCC. 2. Crank the Line Out level to 10. BMPCC: 1. Set the input level to Line. 2. Adjust inputs 1 & 2 to 15%. That should give you a proper connection between the two. You'll have to do some more setting up …
Last reply by chrisnewton, -
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Black magic released a camera at NAB. It's a 2.5k image and is on the cheap side at $3000'sh. But I got a chance to go by and check it out briefly. And by briefly, I mean I snaked the line to look at the audio input selection. So none of the photos have shown them but they are 2 1/4" inputs with the headphone jack just above the inputs. I snapped a pic but I'm on my phone at the moment and I'll upload it when I get a chance. I wasn't able to check the menu or look for any timecode options but maybe someone else can chime in who's looked at its specs more in detail.
Last reply by Marc Wielage, -
Starting a feature with this camera end of the month. Anyone have any advice with regards timecode etc? We have some test days coming up but would be good to go into them with some idea of how it operates so far thinking Deneke sync box on the camera as experience says Sony is normally no good at holding time. Shame we're not using alexa...
Last reply by Erkal Taskin, -
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I have a hypothetical/theoretical question about timecode. I am not asking for any practical reason, and I have no timecode enabled equipment to test this on myself. Just a curiosity. I'm pretty sure I understand the differences between timecode and genlock/sync, namely, that timecode alone does not force synchronised recording speeds between devices, it only stamps synchronised time numbers over the top of the recordings. EG, I am aware that if one jam-syncs the timecode of multiple devices at the start of shooting, then disconnects the timecode cables, after a while, the timecodes (and thus, the recordings themselves) can/will drift out of sync. But what hap…
Last reply by Marc Wielage, -
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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, -
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Alex Maragos on the Red User Group just brought up this fascinating BBC documentary on how cameras and sound gear were made smaller and more lightweight for fast-paced filmmaking in the early 1960s. I immediately said, "oh, they used Auricons back then," but the real story is a lot more complicated than I had thought. Here's the show (pending on how long it stays up on Vimeo): Watch the whole thing -- it's really something. Right around 32 minutes in, during a long segment on a John Kennedy documentary called Primary, they start talking about the myriad of issues with sound recorders and audio sync, which I found both sad and hilarious. Some things never change…
Last reply by Richard Munns, -
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I am shooting with a C300, yet again. Producer wants 30fps. Is the camera doing a true 30fps? Should I set my 788 to 30 or 29.97ndf? Thank you.
Last reply by Boomboom, -
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Panasonic have a new 4K capable camera, should be on sale in April. Has an interesting add-on that gives multiple SDI outputs, TC input, 2 XLR ins, and External DC. More info here: http://cinescopophilia.com/panasonic-dmc-gh4-4k-camera-press-release-specs/ And the 'Interface Unit'
Last reply by Rich Reilly, -
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I get a kick out of veteran assistant Evan Luzi's blog, The Black and the Blue, and his interesting insights into that side of the industry. In this recent post, Evan lists 50 things that drive his department crazy: http://www.theblacka...ings-that-suck/ Among the more interesting ones: 1. Rush Hour Call Times. 2. Shooting the rehearsal. 13. Pizza for lunch. 14. Forced call times 17. Call times that go from sunset to sunrise. 18. Booting a RED camera. Like Forrest Gump said, “you’re never know what you’re gonna get.” 20. Being blamed for in-camera sound issues. If the camera reads a clean test signal from the sound mixer, …
Last reply by Marc Wielage, -
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Hi, I'm building up my prod sound experience and have a one-day doc shoot tomorrow in which I am doing two things new to me: - providing TC to the camera - sending a mix output from the recorder to the camera I'm feeding 3 lectro radio mics and a boom into a SD442, and then iso'd mics and a mix into a zoom F8. I've checked the JW posts and have gotten useful info; this is what I plan to do: 1. I'm renting a tentacle sync and plan to jam sync the F8, and the Amira via BNC in 2. I'm renting a lectro SRC receiver with two LT transmitters, outputting from the f8 to the Amira ch. 1 and 2, mic level in Any info re: un…
Last reply by backfocus, -
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Did anyone used Black magic cam , and any comment? may be consider buying one for the furture production house. Thanks your opinion.
Last reply by studiomprd, -
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I mixed a pretty simple Under Armour spot last week, and while half the shoot was phantom flex footage of flame throwers, metal grinders and welders, the other half was interviews using 2 5D MK III... Which I have to say, put a little smile on my face. It now features 3 audio specific improvements that seem pretty good. 1. TIMECODE - it now has the ability to run as a master for TC... Unfortunately, not slave yet, but it proved helpful at some points... I didn't try to jam out of it to a slate yet, but I'm wondering if the headphone jack acts as a possible jam out. 2. Audio levels on main screen can be seen AND levels can be changed! I was running a G3 hop t…
Last reply by studiomprd, -
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Site is unreachable right now for me: http://www.arri.com/alexamini Up to 200 framerate and 4K UHD...
Last reply by pindrop, -
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I mentioned the Panasonic Lumix GH2 in the Alexa thread, and a number of other sound people chimed in about being happy GH2 owners as well, so I thought it deserved its own thread. It says a lot to me that so many sound people are buying a camera with a sub-mini 2.5mm audio input. It was a big metal leap for me to convince myself to buy a camera with such a tiny audio input, but I'm glad I did. This camera is a lot smaller than most HDSLR's, and the video image is just as good, and in many respects, far better than even the steepest competition. The only thing that I've grown not to like is the 2x crop factor. Someday I'd love to bump up to a full-sized sensor…
Last reply by Marc Wielage, -
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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, -
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Hi, I have a very strange question about the Alexa and was just wondering if anyone knew if this was possible. If I have a receiver on the Alexa, can I remotely send timecode to it that changes while the Alexa is recording? E.G. My ext TC generator is sending the Alexa free running time code at 25fps starting at 14:02:23:12, everything is running normally and then my TC Generator will send time code (Still at 25fps) starting at 00:00:12:20 I know for Audio files on the SD 552 / 664, the timecode is more like a stamp and it is based on what ever the 1st timecode frame was when the recorder starts recording but does the Arri Alexa keep a continuous record of wha…
Last reply by Rhys, -
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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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This was circling around on the interweb thought I would post it here. Thought it was pretty funny.
Last reply by benr, -
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I did some days with a runaround crew with the Panasonic AF100, which we tried to keep in TC sync with my rig. As someone mentioned, you have to read the manual carefully, since the process is somewhat counter-intuitive, but after a few syncs is was easy enough. It takes some getting used to the idea that the TC input is labelled as the composite video output (and that it only works as a one-time jam when the camera isn't rolling) and that the connector is an RCA female, but after that the setting was not buried too deep in menu-world. The camera loses its jam after any battery or frame rate change, so you have to be observant, but having to rejam fairly often meant th…
Last reply by mkfotos, -
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Hi all, I have been asked to do sound on a 5D shoot. - Mk2 or Mk3 (TBD). - Sometimes a pair of 5Ds. - It is documentary. - We will shoot in Armenia. - No post house on board yet. - Editor not yet confirmed. - Likely to stay like that until we return from Armenia. - First production meeting Saturday. I have some obvious concerns about sync. - I have only one Lockit. - My pair of Tentacle Sync boxes might not arrive by then. So plan is: ERX on each 5D; - 5D Left track - scratch mix (for PluralEyes) - 5D Right track - TC (for AuxTC Reader) For the interviews this seems fine (they will be boarded) For the event coverage (marches, concert etc) w…
Last reply by David Silberberg, -
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At my current shoot I use the Ambient wireless TC link. For days there have been drop frames so they exchanged the body but still the problem persists. Now they are suspecting the Tc causes the drop frames. When the RF connection is lost the Alexa Tc blinks. Has anyone heard something like that?
Last reply by Marc Wielage, -
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4ch audio http://cpn.canon-europe.com/content/news/the_new_eos_c300_mark_ii_revealed.do Sent from my iPhone using Tapatalk 2
Last reply by IronFilm, -
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I got a chance to work with the Panasonic Varicam LT last week, and saw that no one has yet posted any information about it. So I thought I would pass along a report of my experiences. All in all, no surprises with this well appointed cinema camera. I don't know how similar to or different from its bigger brother (Varicam) it is, not having worked with one. It support four channels of audio input. It has an XLR-5F for a stereo mic in on Inputs 1 & 2. It has two more mono XLR jacks for inputs 3 and 4. All four inputs can be recorded simultaneously, with 48V phantom power available in each. Internal recording is 24-bit 48KHz. Input levels are control…
Last reply by ottoj,
