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    Sound and Picture
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  1. It’s not very elegant but there are other ways to power the condenser like the ps-1a.
  2. I had the green blinking lights in unison till I tried a couple more frequencies. Problem solved for now.
  3. I own an R1 MX version. The original camera (non-mx) had some audio board problems. But most even non-MX cameras still out there (Red wants them back) have the UPGRADED board which handles audio very well. Have your buddy call the Bomb Squad (yes, they really call themselves this) and pull up the serial number of the camera and see if it's had the upgraded. If not, get them to make a recommendation. I'll stress here because I feel there's a lot of diverging info on these cameras. The upgraded audio board RED1s handle audio extremely well. Just make sure the fan is turned to auto and it will cut off when record is enabled. Line level is great for my camera and others I have worked with. I have the Laird cable and it works well. Nothing special about it. Any XLR to mini/TA3 will work. Folklore has it that the 3 and 4 inputs are better than the 1 and 2. I don't know why you would need a hardware -10 Pad, but my SD has that function built in for C300s. My workflow is to send stereo mix to the camera and then ISOs are recorded on my Sound Device - I've been doing this for years with no issues. It also holds timecode well, but they are battery hogs so they'll be a lot of powering up and down. My experience working as a producer and mixer is that not all REDs are created equal. Owner operator cameras are much more stable than abused frankensteined rental house units with weird connectors and audio boxes. From a mixing perspective I'm always happy to see a Sony or Alexa when I arrive on set.
  4. The PSC adapter has worked great for me. I use it on my 416T, which I had serviced a few years ago and functions like a new mic. I suggest sending the 816T back if it’s not functioning perfectly to Sennheiser and they’ll make it good as new for a reasonable sum. Form factor obviously suffers if it’s on the barrel and it does add a little weight.
  5. It wasn't reliable. It would error and we'd have to restart it then it would work fine with a lot of fussing. Always carried a back up because you never know. Also the pre-amps and the timecode clock were not as good. Also had a Wendt mixer for awhile that had some channel bleed but was a pretty trouble free device. Excellent value and you can pick those up for dirt cheap now. Yes on all of the above. I also have the theory that cameras are a lot easier to visually troubleshoot. Audio problems are a lot harder to fix.
  6. I'll rather dangerously weigh in here as you've mostly heard from mixers. As a production company owner and also an evil RED owner I have a slightly different take. We originally tried to hire sound mixers on every job and, like you, really just couldn't afford it on lower budget stuff (guys, you don't even get called). Great audio is crucial to me. But with most of the good guys here in Atlanta we're competing with major studios for sound mixers with decent kits. We still hire sound mixers and pay them full rate when we can afford it. But mixers with their own gear in this town aren't cheap. In fact, they can be the highest item in the budget. Many of them have over 100k in their kits so why would they work cheap? Inevitably, we end up in the situation on many jobs where we have to trim by hiring a less experienced guy and have him use our gear. Yeah, we're not Warner Brothers and we're not a signatory company. As far as gear. First we tried to go cheaper with a cheaper kit. Example being a Tascam HD-P2 which was one ill-fated purchase. In the end, after a couple poor choices dumped on the auction site, we invested in a 633. There's nothing like a Sound Device for dependability and clean preamps. We also own some older Lectros, a couple C460b's (CK61 caps) which is an awesome but not well known cardioid solution, Sankens and a 416T, plus a bunch of other single purpose mics and misc lavs. I also recommend buying industry standard gear on everything. That way, anyone with experience can use it. At this point, we have a significant investment in audio and I don't regret it one bit. I can hire a mixer and pay him for his kit, pay him to use ours or I can mix myself, and get clean audio, if I absolutely have to because the budget is so awful. It's a lot easier for me to find a competent person to run my camera on budget than it is to mix audio.
  7. The Lexar Pro model will read RED CF cards. Always a bonus on set.
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