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  1. #11  
    I'm on vacation so I can't test this stuff - but has anyone tried opening a .r3d file with audio in REDCINE and exporting a QT? Does the audio pass through? (to a self contained QT of an user selected codec)
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  2. #12  
    Senior Member I Bloom's Avatar
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    Important to note though that the audio itself will still be in the R3D file. Just no longer referenced by the quicktime file after you update in Redalert.

    Finner, I'm seeing mounting one wireless reciever on the camera that is feeding off the mixer. The purpose being mainly that dailies will have sound immediately for the director. Otherwise, I agree with you seperate sound is always better.

    Funny thing is, a lot of field mixers aren't even ready to transmit 4 track audio even if they are taking 4 inputs. I wonder if the location sound industry is even taking notice of this. I haven't heard for example of a breakaway cable that feeds 4 mini XLR3s.

    IBloom
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  3. #13  
    Quote Originally Posted by ibloom View Post
    The purpose being mainly that dailies will have sound immediately for the director. Otherwise, I agree with you seperate sound is always better.
    IBloom
    I am actually going to feed all original channels from the mixer to the camera on my next production. Hard disc recorder (Metacorder) as back-up ONLY and for when we can't be teathered. The reality is - MOST OF TIME you run cables anyway for an HD monitor. Cables on set with a good crew is not really an issue to me - especially if you always have BWF back ups anyway. Getting QT wrappers off the camera with FOUR separate tracks of audio which can be transcoded immedaitely is a HUGE deal as far as I am concerned - and I will use the hell out of it -
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  4. #14  
    Quote Originally Posted by Offhollywood View Post
    I am actually going to feed all original channels from the mixer to the camera on my next production.
    What original channels you mean? I can hardly imagine any soundman be able to simultaneously control the levels of four channels.
    Dalibor Fencl
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  5. #15  
    Quote Originally Posted by dalife View Post
    What original channels you mean? I can hardly imagine any soundman be able to simultaneously control the levels of four channels.
    MOST of the time you work with 4 or more channels on features. Typically, one is boom, the others are lavs - sometimes there is an ambient mic placed as well. Back in the day - before hard disc recorders I often had DA88 on set to get all channels recorded independently in addition to the stereo mixdown that was going onto DAT - I found it always saved me money in post and/or got me better sound.
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  6. #16  
    Senior Member Anders Holck's Avatar
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    Quote Originally Posted by dalife View Post
    What original channels you mean? I can hardly imagine any soundman be able to simultaneously control the levels of four channels.
    I guess you have to tell that to this guy:


    Bourne Ultimatum by the way. Using 10 digital zaxxcom microports.
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  7. #17  
    Quote Originally Posted by Anders Holck View Post
    I guess you have to tell that to this guy:


    Bourne Ultimatum by the way. Using 10 digital zaxxcom microports.
    He is rockin' TWO Cantars!! That is awesome!!!
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  8. #18  
    Lol. I see, but still, if there are all those Nagras and DA88, is it necessary to send four channels to camera? And again those channels have to be controlled by someones hands, am I wrong?

    Edit: I mean those channels sent to camera.
    Dalibor Fencl
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  9. #19  
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    Quote Originally Posted by Finner View Post
    I can forsee capturing good sound with a red being very difficult due to no audio control pots on the camera. I think most will have to capture audio with a different device other then the camera.
    As in no knobs for controlling gain on mic inputs????

    If not, what does this mean (quote from the manual)?

    Line input analog audio received via the min-XLR inputs is immediately digitized at 24 bit per sample at a 48KHz sample rate. Microphone level audio inputs are routed via an adjustable gain pre-amplifier before digitization, no gain adjustment is available for Line level inputs.
    How do you adjust gain on the "adjustable gain pre-amp" for a mic signal then? If you tell me it's only available in some menu where you have to hit plus/minus buttons, I'll try to remain calm.

    If there are no external, physical audio controls (I haven't really studied the body of the camera and so never really looked for them), then it's essential IMO to have the camera able to accept audio over firewire so that some of the portable devices out there that can double as A/D converters and digital mixers can feed the audio to the camera without reconversion. (I use the MOTU Traveler, but there are a lot of other, even smaller devices that would fit the bill.)

    ETA: I just looked at the connector diagram thread, and, of course, there are no firewire inputs, only USB.
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  10. #20  
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    Are there a visual audio level meter in the camera menu display window?

    I have seen no mention of this feature, so I am guessing not.
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