jrd456 Posted July 28, 2012 Report Share Posted July 28, 2012 It's just like Red to be back asswards..........Jesus ! J.D. Quote Link to comment Share on other sites More sharing options...
RPSharman Posted July 28, 2012 Report Share Posted July 28, 2012 Doesn't bother me. I'm still going to refuse to run audio to camera. Fortunately, in my world, I don't need to. Whenever asked, I was able to have the DP agree he didn't want it and the UPM not wanting to pay more for it. Honestly, I think any cables should be supplied as part of the camera. No cables. No sound. Quote Link to comment Share on other sites More sharing options...
Marc Wielage Posted July 28, 2012 Report Share Posted July 28, 2012 I try to have a pre-configured sound and time code camera kit ready when I hit the set. Toward that goal, I am now carrying several times as many specialty cables for Reds as for any other camera. It's total silliness. There are at least 9 or 10 specialty cables I need to have ready to meet all configurations of Reds, and with the latest appendages, the number increases. Yes, you have a point. You could potentially have TA3 audio and BNC timecode for Red 1; 3.5mm audio and 4-pin Lemo for Red Epic or Scarlet; XLR audio (3 & 4) and 5-pin Lemo for an Epic with the Pro IO. Then the Alexa uses BNC for timecode in, and a 5-pin XLR for audio in. The potential of combinations, particularly if they throw in multiple cameras, can be daunting. Even in the world of audio, we have 5-pin Lemo on most recorders, but BNC, 1/4" phone plugs, and 3.5mm mini-phone plugs for timecode. Here's my timecode/audio cable case that I carry on the truck in case I get confronted with an unexpected connection problem. I also carry along some adapter cables just in case. I've had pretty good success with a TA3 -> 3.5mm set of cables that Wilcox Sound in Burbank made for me, using those for wireless hops to Epics. Quote Link to comment Share on other sites More sharing options...
Jeff Wexler Posted July 28, 2012 Report Share Posted July 28, 2012 Wow! I'm impressed! Talk about being prepared AND organized. That's an amazing assortment of cables. I'm sure with the huge variety of jobs you have done you have had to use each one of them at least once. Quote Link to comment Share on other sites More sharing options...
Jack Norflus Posted July 29, 2012 Report Share Posted July 29, 2012 wow - very nice Quote Link to comment Share on other sites More sharing options...
mastermixaudiomedia Posted July 29, 2012 Report Share Posted July 29, 2012 I'm a geek for cables, but damn! Quote Link to comment Share on other sites More sharing options...
John Blankenship Posted July 29, 2012 Report Share Posted July 29, 2012 Marc -- nicely organized. I keep mine in labeled Ziploc bags in a zippered case on the cart. The Ziploc bags allow me to fit more into a smaller space than hard boxes. If I was able to use a follow cart on most of my gigs, I'd likely go with a system more like yours. One of my ongoing challenges is to keep the weight and bulk of the cart manageable. Quote Link to comment Share on other sites More sharing options...
Marc Wielage Posted July 30, 2012 Report Share Posted July 30, 2012 I used Ziploc bags for a long time, but they got so beat-up over the years, I threw in the towel and picked up a bunch of those little plastic boxes awhile back, which kept them better organized. I generally just drag along the whole case and keep it stashed out in the truck, so if they pick up a B cam unexpectedly or something, I can grab another cable and figure out a way to at least get it jammed. (And I again thank Blake Wilcox and the gang for making swell TC cables, far better and less costly than the stock Red cables or even the commonly-available ones from Sound Devices and similar firms.) I again worked with a crew on a commercial the other day who was surprised that I had all the right cables for Epic, all at the right length, and had a self-contained battery pack for the camera hop (Lectro SR, and also a D4 on some occasions). Little things like that help get on the camera department's good side, and they appreciate it when we can avoid any audio or TC issues with camera. Quote Link to comment Share on other sites More sharing options...
studiomprd Posted July 30, 2012 Report Share Posted July 30, 2012 " I think any cables should be supplied as part of the camera. " as well as that "semi-Pro Pack" thingy., if production wants it. Quote Link to comment Share on other sites More sharing options...
Marc Wielage Posted July 31, 2012 Report Share Posted July 31, 2012 You can make an argument that the camera department should supply all cables that connect to the camera, but my take is, I'm there to supply solutions, not fight them or not solve the problem. If one $25 cable is the difference between getting it done right or not, I'll supply the $35 cable. At least the F3 cable will work with the Canon C300 and a few others that need a BNC input for timecode. To me, that makes the most sense for timecode. But between the SB-T (mini 3.5mm jack in) and TS-3 slate (1/4"), plus the recorder (Lemo), and then the camera (different Lemo or BNC), there's a lot of different possibilities. Quote Link to comment Share on other sites More sharing options...
Marc Wielage Posted August 11, 2012 Report Share Posted August 11, 2012 And just as an update: Red has recently announced development of a new addition called the "Meizler Module," which extends certain capabilities of the Red Epic and also adds breakout connectors for certain functions. Check this out: The bottom image shows what appears to be a 7-pin Hirose connector for all audio in and out! Yep, that means there will now be a third different kind of sound cable required for Red, depending on which camera and configuration you get. No XLRs, no TA3's. Hey, at least they used BNC for timecode this time... Note this is just a prototype at the moment. Quote Link to comment Share on other sites More sharing options...
Olle Sjostrom Posted August 11, 2012 Report Share Posted August 11, 2012 The red epic is the George Lucas of the camera world. Keeps changing its mind. Quote Link to comment Share on other sites More sharing options...
Eric Toline Posted August 11, 2012 Report Share Posted August 11, 2012 Some specs on the $13,000 module: Note the items in BOLD "This is a module for the EPIC/Scarlet camera that features: 3 lemo powered outputs for Focus/Iris/Zoom for Heden or Preston lens motors, full wireless lens control built in for 3ality Technica, Preston and eventually other lens controls, built in wireless timecode receiver, wireless Audio receiver built-in, wireless 1080p Video transmission built-in & a 3rd front lemo can power Cinetape if Zoom control is not needed. One REDBRICK battery powers everything including the camera." Eric Quote Link to comment Share on other sites More sharing options...
VASI Posted August 11, 2012 Report Share Posted August 11, 2012 Now you little bastard sound mixer you don't need the money for wireless (audio/timecode) camera hop. $200 all in now. PS: I smell troubles. And the manufacturer for wireless timecode and audio? Quote Link to comment Share on other sites More sharing options...
Eric Toline Posted August 11, 2012 Report Share Posted August 11, 2012 Now you little bastard sound mixer you don't need the money for wireless (audio/timecode) camera hop. $200 all in now. PS: I smell troubles. And the manufacturer for wireless timecode and audio? Nothing mentioned about any wireless specs or if it's the only way to get audio into the unit. Regardless you'll still have to provide the tx to hop to the camera. Eric Quote Link to comment Share on other sites More sharing options...
Jeff Wexler Posted August 11, 2012 Report Share Posted August 11, 2012 All these add-on modules are making the camera bigger and bigger but the problem is that the part of the camera that needs to be bigger is the camera body --- not enough surface area to provide any heat sink. The whole modular design concept is a great concept but not as it is being implemented by the RED designers. Quote Link to comment Share on other sites More sharing options...
VASI Posted August 11, 2012 Report Share Posted August 11, 2012 Nothing mentioned about any wireless specs or if it's the only way to get audio into the unit. Regardless you'll still have to provide the tx to hop to the camera. Eric I hope Eric! - Το εύχομαι Eric! Quote Link to comment Share on other sites More sharing options...
Scott Smith Posted August 11, 2012 Report Share Posted August 11, 2012 Mark: Love the kit! Where did you find the plastic cases? They are a perfect size for these types of cables. --Scott Here's my timecode/audio cable case that I carry on the truck in case I get confronted with an unexpected connection problem. I also carry along some adapter cables just in case. I've had pretty good success with a TA3 -> 3.5mm set of cables that Wilcox Sound in Burbank made for me, using those for wireless hops to Epics. Quote Link to comment Share on other sites More sharing options...
Scott Smith Posted August 11, 2012 Report Share Posted August 11, 2012 Not that it matters much given all the other issues with the Pro I/O module, but I wonder why they felt compelled to mount the XLR connectors upside-down? Just make for an even more awkward configuration if you want to use right-angle XLR's. --S Quote Link to comment Share on other sites More sharing options...
OmahaAudio Posted August 11, 2012 Report Share Posted August 11, 2012 Now you little bastard sound mixer you don't need the money for wireless (audio/timecode) camera hop. $200 all in now. PS: I smell troubles. And the manufacturer for wireless timecode and audio? Ralph's Timecode & Wireless in Canoga Park, "Supplying Your Timecode And Wireless Needs Since Late-July 2012". Quote Link to comment Share on other sites More sharing options...
Olle Sjostrom Posted August 11, 2012 Report Share Posted August 11, 2012 Lol! So maybe red will release a new array of wireless systems? Or if the frequency for the hop is in an illegal block... My goodness that is a bad idea from their part. Quote Link to comment Share on other sites More sharing options...
RPSharman Posted August 11, 2012 Report Share Posted August 11, 2012 I'd guess the transmitters for TC and audio are part of the package. I am curious about the manufacturer, however. Or maybe they came up with their own. I'd love to see how that'll work in some crowded RF areas. I just hope my luck continues, and I will continue not having to worry about such things. Crossing fingers and toes now. Robert Quote Link to comment Share on other sites More sharing options...
Marc Wielage Posted August 12, 2012 Report Share Posted August 12, 2012 Love the kit! Where did you find the plastic cases? They are a perfect size for these types of cables. I get the little plastic boxes for $2 each from Michael's Art Supply here in LA. They just happen to be just the right size to fit two rows in a Pelican 1450 case. Sometimes, I stick a chunk of foam in there so the connectors don't rattle too much, but generally the cables will loop around and fit the box perfectly without any trouble. Some of these cables have rarely been used, but a few of them get used heavily on every shoot. I also use them for odds and ends like RX and TX antennas, XLR attenuators, and stuff like that. Too many times, I've grabbed one of these and thought, "thank de lawd I brought this along!" Back to the Red: that's news to me that it has wireless timecode and wireless audio in. I'd be very, very curious to find out what they're transmitting it on. I think the Redmote remote control uses either WiFi G or N protocol, and my experience is that doesn't work too well more than 200 feet away. If they're using this for audio and TC, I'm dubious it will be 100% reliable. But I'd be glad to be wrong. BTW, note that the Meizler Module uses the exact same 7-pin connector for audio, "3D" (?), and 12VDC. I would hate to be the guy who shoved in the wrong connector into the wrong jack... Quote Link to comment Share on other sites More sharing options...
soundslikejustin Posted August 12, 2012 Report Share Posted August 12, 2012 Info from ProVideo Coalition: Wireless timecode receiving. Jam your timecode wirelessly from your sound guy. Wireless audio receiver. At the moment the only system that is confirmed to work with this is Zaxcom but apparently there are others. Wireless lens control. Currently compatible with Preston and 3ality controllers. ARRI controllers are being worked on as well. More info here: http://provideocoali...odule_for_epic/ Quote Link to comment Share on other sites More sharing options...
Jim Feeley Posted August 12, 2012 Author Report Share Posted August 12, 2012 As you might expect, there's a long thread about the Meizler module on reduser. Started yesterday: http://www.reduser.net/forum/showthread.php?83977-Meizler-Module-Supercharged I don't have time to wade through the whole thing, but here's one bit: I'm nervous about you guys using very similar 7-pin Hirose connectors for both power and sound. Assuming this is what winds up in the final product... Jarrend Land replies: "ha ha ha no.. thats just the generic solidworks connectors " And also: "See it live at IBC. Shipping in October/November. O.. and better pick up an Ipad as well if you don't already have one " Quote Link to comment Share on other sites More sharing options...
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