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Lemo wiring Compatibility with the RED and 744t


Audio Daddyo

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I would like to use my lemo to xlr 744 TC in and out cables when working with the RED.  Although I thought I read somewhere that the Lemo TC wiring on the RED is different than the Lemo wiring for the SD 744. But when I look at the proper Lemo TC wiring for the 744t and compare that to the Lemo TC wiring in the RED manual it appears the same.  The only difference is (I think) that you can wire the RED balanced or not balanced.  Has anyone use their 744 wired TC cables with the RED successfully. 

Thanks,

Andy

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  • 8 months later...

Hi Andy,

I'm planning my strategy out for my friend's new production company and had the same idea as you. In the past I would attach a time-code box to the Red and it would keep in sync. On this shoot the my friends client doesn't want to pay the extra money for time-code slate and or box. The DP and I always think more is better so I will be sending audio to the camera, and for my own amusement I was going to feed the Red time-code from my 744T using my Limo to XLR in & out cables. If I keep connected during the shoot will the Red behave?

Keenan

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Hi Andy,

I'm planning my strategy out for my friend's new production company and had the same idea as you. In the past I would attach a time-code box to the Red and it would keep in sync. On this shoot the my friends client doesn't want to pay the extra money for time-code slate and or box. The DP and I always think more is better so I will be sending audio to the camera, and for my own amusement I was going to feed the Red time-code from my 744T using my Limo to XLR in & out cables. If I keep connected during the shoot will the Red behave?

Keenan

Yes I have done with Before I used two LEMO to BNC cables you just need to set the RED to External Timecode. I did a shoot where we had a RED locked off over a stove for a cooking show and we did not have any more sync boxes.

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I had Denecke make a jam cable for 1/4" to Lemo for jamming a RED from my slates.  No boxes on the camera to make the RED or its operators cranky.

Most RED shows hot swap the batteries these days to avoid "INITIALIZING" all the time, and TC holds relatively well.  Just a little babysitting from the ACs and the boom/utility and me watching the monitors, and all is well.

Robert

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Red One Operation Guide  http://www.red.com/support 

has drawings of connectors and pin assignments

RedOne officially OK’ed ( only took 2 days on the phone)  that’s its all right to tie all grounds with camera ground on pin 2 of audio outs, which is battery ground also.

Output level from Redone: some audio Tx do not have a limiter or compressor at the input. If you hear nasty digital clipping noises from your receiver (being fed by the RedOne output to a wireless Tx), reduce the output level from the Red One. can be done in menus of the redOne.  In other words the output level is adjustable in the menues. 

I know nothing of the Tc in the RED and how it syncs, and curiously as far as I know noone ( except possibly Courtney) has ever checked its stability and drop proofness at power/down/up cycles with a Denneke GR-1. [PS I have one for sale]  with plural eyes, who cares anymore - I guess.  But then I rarely talk to mixers who talk to assistant editors in post. 

I do hear though from the smart guys on this board that folks feed the red only with TC not TC and sync.  since there aren't too many loud complaints this seems to be solved somehow.

wolf

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I frequently do audio for RED camera shoots and I have never had an issue with my 744t timecode cables.  I have both a LEMO-BNC and a LEMO-XLR TC cable and they both work fine.  I frequently send a wireless TC signal via a cheap Sony wireless TX and RX.  The Tx is in my bag and then I have one receiver on the back of my slate and a matching receiver strapped to the camera.  The camera can power down/power up whenever they want and they are instantly jammed the moment it's back up.  I also send a wireless scratch audio track if the 744t is the master audio.  If the RED is master audio, which rarely it is, then I send either a wireless stereo signal or whip out the ol' ENG cable. 

I have found an unusually high number of RED shoots where the camera operators/owners, or whomever lined up that camera, failed to include the audio cables or a TC cable.  So, I carry a spare set with my gear just in case.  I'm able to either charge a little extra for the use of the cables or, at the very least, it's good karma. 

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