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  1.   This is the last RED TEAM post in this thread.   #21  
    Fire Chief Jarred Land's Avatar
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    Quote Originally Posted by Christoffer Glans View Post
    Would have been good to have the baseplate module have a mini XLR together with its timecode ports. There has to be some kind of input for audio, I thought there was a mini input? If that's the case it's a bit bad for those wanting to sync through audio sync boxes or using stabilizers like the SteadXP.
    Hopefully Red could spill the beans on this.

    EDIT: checking the drawings... yes, it has a mic mini input. Would be good to have XLR inputs though, if there was any space left on the baseplate module.
    Onboard mic plus mini 3.5mm input ( 4 channels total )

    No XLR ports. No room for XLR's and I am not making Komodo bigger to accommodate such a thing. again...not what this camera was designed for.

    But you all can make it something it is not supposed to be by adding a xlr input to 3.5mm breakout box /cable if you really want as many here have suggested :) . In terms of sound quality.. you are not gonna hear much difference between a balanced XLR and a mini jack with cable runs as short as this.
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  2. #22  
    Onboard mic? - How did I not see it???
    That's super convenient!

    But, yeah, for more advanced run 'n' gun audio options, you can't go wrong with an XLR to 3.5mm :)
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  3. #23  
    Senior Member Gene Sung's Avatar
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    Quote Originally Posted by Jarred Land View Post
    Onboard mic plus mini 3.5mm input ( 4 channels total )
    Onboard Mic, that mean internal Mic, correct?

    That would be great as that's all I ever use is reference sound on any camera and leave audio to the sound guy / girl.
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  4. #24  
    Senior Member yann LHENORET's Avatar
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    Maybe the Sound Devices MixPre-3 II is a good solution: Dimensions are close ( 1.40” x 5.68” x 4.35”), Record up to 5 tracks to an SD card, Internal LTC timecode generator. Timecode In/Out via Aux In/Stereo Out, Bit depth up to 32-bit float, (only problem is that Timecode and record are triggered via HDMI only...).

    Almost perfect?



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  5. #25  
    Hey guys I have 2 questions,

    1. Do any of these external recording solutions support automatic record triggering? What I'm trying to say is, do any of these recorders start to record when you press record on the camera?

    2. If you use an external device with better pre-amps etc and feed it into the camera will the audio quality improve or will it be limited by the internal pre-amps? Sorry if this is a silly question I dont have that much knowledge when it comes to Audio.
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  6. #26  
    Senior Member Patrick Tresch's Avatar
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    Quote Originally Posted by Bart Oerbekke View Post
    2. If you use an external device with better pre-amps etc and feed it into the camera will the audio quality improve or will it be limited by the internal pre-amps? Sorry if this is a silly question I dont have that much knowledge when it comes to Audio.

    You can feed clean audio to the minijack but having better preamp and use the mix menu where you can use a limiter/compressor to avoid clipping and use a greater dynamic range but to accomodate the lower DR (signal to noise ratio) of the camera.
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  7. #27  
    My solution with the Mixpre on the Epic is to leave it recording all day and feed Timecode into the camera from the recorder, that way you can sync it up in post.

    I also feed the headphone out into the camera audio jack for redundancy.

    Otherwise it needs a specific HDMI trigger for recording, which this camera is very unlikely to have unfortunately.

    And yes, the audio does sound better using the Mixpre output than using a mic plugged directly into the camera.
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  8. #28  
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    For compact audio recording on the go, +1 for the Zoom F6.. sounds great and is very compact, with a line-level feed for the 3.5mm input of the camera if needed. I've really enjoyed using it for solo run-n-gun type work. I don't miss XLR on a compact camera.. a Red this size with a Deity D3 Pro will be a blast to run around with. I don't see Komodo replacing my DSMC2 cameras for production work with crew
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  9. #29  
    Great info guys Thanks for answering my questions.
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  10. #30  
    Senior Member Blair S. Paulsen's Avatar
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    Concur that feeding the camera a strong signal from an external pre-amp is preferred. Ideally you want the internal pre-amps doing as little as possible. Every db of gain in camera brings a bit more hash into the signal. FWIW, I've found that when I can keep the in camera gain under 5db by using solid external pre-amps the delta between sync and 2nd system sound quality is meaningless for most projects. The times I've cringed at the sound quality recorded in camera was when the gain was over 20db. YMMV.

    Cheers - #19
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