Phil Palmer Posted October 21, 2007 Report Share Posted October 21, 2007 Hello everyone, Just about to start a new project and it looks like camera has decided to go with the new F23 camera. I know the deck can be, and after a conversation with the DIT, will be mounted at the DIT rack and tent. The preliminary reports are that the fans are rather loud. I think someone actually called it "the hurricane". I also believe there are fan settings which can be adjusted as needed. Luckily the DIT and I are good friends and have worked together in the past...it looks like I have back up. I'll be recording double system as usual, with a scratch track going to camera. I'll jam the boxes and generate the master code. Multi track will match up in the conform. This has worked quite well for a couple of years now on series work. I know it's a rather new camera on the block, so I'll post here as I go. I'd appreciate any experiences anyone may have had while working with this camera. Thanks in advance... ~PWP Quote Link to comment Share on other sites More sharing options...
Phil Palmer Posted October 21, 2007 Author Report Share Posted October 21, 2007 I know that the SRW-1 will record 12 channels of audio if needed. (more info pages 46 and 47) Thanks for the Sony links. The op manual is helpful. I'm avoiding sending so many tracks to camera, for many reasons. The editors on series tend to shy away from anything more than 1 or 2 tracks, just not enough time to deal. The dialog editors are a different story, they want as much as I can give them. I'll probably deliver the multi track on hard drive as I have been doing for some time now. The daily DVD will be same as the tracks sent to camera, they can choose which one to use for the temp and dailies mix. Time codes will all match up, so conform will be able to stack all the tracks with the picture edit. Any experiences with the camera?? ~PWP Quote Link to comment Share on other sites More sharing options...
Philip Perkins Posted October 21, 2007 Report Share Posted October 21, 2007 Yes--and it hasn't been really any different for me than shooting with an F900. TC was fine, audio the same. The SRW1 is pretty noisy, but the biggest noisemaker is in the "controller" part of the deck which they wouldn't mount on the camera, fortunately. The deck is a really nice piece of engineering FWIW. We had the deck separated, mostly (noisy), and in that config the audio return is two XLR 3s, not a single 5 pin. Your setup sounds good to me. Philip Perkins Quote Link to comment Share on other sites More sharing options...
Guest afewmoreyears Posted October 21, 2007 Report Share Posted October 21, 2007 Hello everyone, Just about to start a new project and it looks like camera has decided to go with the new F23 camera. I know the deck can be, and after a conversation with the DIT, will be mounted at the DIT rack and tent. The preliminary reports are that the fans are rather loud. I think someone actually called it "the hurricane". I also believe there are fan settings which can be adjusted as needed. Luckily the DIT and I are good friends and have worked together in the past...it looks like I have back up. I'll be recording double system as usual, with a scratch track going to camera. I'll jam the boxes and generate the master code. Multi track will match up in the conform. This has worked quite well for a couple of years now on series work. I know it's a rather new camera on the block, so I'll post here as I go. I'd appreciate any experiences anyone may have had while working with this camera. Thanks in advance... ~PWP Phil, Ever considered letting the camera's do their own code.... So they can change for tape number Etc... and sending the back-up audio to them.... then use free run TC from your File based machine, and simply use a Time code slate as usual? You can send a sync box feed if you wish to ch 2 if you like.... This will give written info for edit on the head of each take, and provide the time code for you.... Works great, unless something is going on I don't know about.... Just a thought.... Quote Link to comment Share on other sites More sharing options...
Phil Palmer Posted October 21, 2007 Author Report Share Posted October 21, 2007 Phil, Ever considered letting the camera's do their own code.... So they can change for tape number Etc... and sending the back-up audio to them.... then use free run TC from your File based machine, and simply use a Time code slate as usual? You can send a sync box feed if you wish to ch 2 if you like.... This will give written info for edit on the head of each take, and provide the time code for you.... Works great, unless something is going on I don't know about.... Just a thought.... Up to 3 cameras at a time. It ends up being better for all the same code. When doing the conform, it is easier if all the codes match up. It's actually easier to have sync boxes on all the cameras, than have 4 different sets of time code going on. There would be A, B, C cam codes and a sound code. We tried it that way a couple of years ago and booted it for the sync boxes. Also, if they choose to use my audio (rather than camera) for the edit master, all they have to do is chase the DV-40 with the video deck. Thanks though... ~PWP Quote Link to comment Share on other sites More sharing options...
Guest afewmoreyears Posted October 21, 2007 Report Share Posted October 21, 2007 Yeah, as I said, code on ch 2 via sync box works great..... but I would still generate from my end and run free run... and still use a TC slate... I guess you are sending the code to the camera TC input rather than the audio ch 2..... All cameras would then have the same code, but on audio ch 2.... Many of the gigs I do want the camera code separate from the audio code... if that makes sense.... It will work well either way.... I am always a bit of a slave to what they ask for, although I try to sometimes help 'em out.... Good stuff.... Quote Link to comment Share on other sites More sharing options...
al mcguire Posted October 22, 2007 Report Share Posted October 22, 2007 I have worked with this camera in Orlando. The video is incredible. We had the SRW 1 recorder mounted to the camera. The only available audio out was the headphone output. If you have worked with a sony broadcast camera in the last 20 years then you know what it sounds like, horrid. I used the camera time code to utilize the SD 744t ext tc auto-record mode. I used a comtek to send the SD TC to the slate. Other than no audio outputs I enjoyed the experience. Al McGuire Soundguy Inc Jacksonville FL Quote Link to comment Share on other sites More sharing options...
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