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  • Hey all, just changed over the backend after 15 years I figured time to give it a bit of an update, its probably gonna be a bit weird for most of you and i am sure there is a few bugs to work out but it should kinda work the same as before... hopefully :)

Lock-it Box Experiences?

Z

Zack

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Would like to hear some RED users experiences with using Lock-it boxes for TC Sync.

If Good.... can you give products used, tips on usage, what to expect and look out for?

If Bad..... can you give products used, alternative solutions, what to expect and look out for, what would you recommend instead?

I put this thread in here since I'm the mixer and will be running the master TC clock from my 702T.

Thanks in advance:willy_nilly:
 
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The most important thing about using a Clockit-Lockit is to remember to cycle the power any time you change the setting dip switches, otherwise the settings won't change. The only other device like it that I know of is the Deneke.
It is way better to use a Clockit-Lockit than just a jam sync as you don't have to worry about re-jamming after a camera re-boot.
 
Rented sound equipment to a feature that wrapped at the end of October that shot with a RED. I'm not certain what build was loaded into the RED (sorry). The camera was fitted with an ASL RIP breakout box.

Sound Devices 788T was used as master clock, Denecke TS-3 slate, and velcro'ed a Denecke SB-3 Syncbox to the RED. Rough mix into RED audio inputs for dailies, audio master was 788T.
 
I own a couple of SB-3's... though it KILLED me, as a camera guy, to have to purchase what I would consider sound department gear.
They work flawlessly and are simple and relatively inexpensive.
Cheers,
Harry
 
Thanks for the replies all. Got done with first day shoot last night, was using two Ambient 202CT's, double/triple checked for correct dip switches were correct. Each RED had a box and sync'd right up from the start of the day, however....

I noticed later on in the day both RED's were behind my master clock 702T when in idle. I have red else where this might happen when they're not actually recording, but then lock up once doing so. Is this still a present issue with newest builds?

I made sure to monitor the lock boxes throughout the day if there were any error messages, but only got the happy green flicker, so my understanding is that all should be well.
 
I have a lockit as well and it is really helpful on big shoots where everyone is running around like crazy and sometimes people forget to resync the camera after a reboot. Makes for happy editing.
 
cinescope said:
Each RED had a box and sync'd right up from the start of the day, however....

I noticed later on in the day both RED's were behind my master clock 702T when in idle. I have red else where this might happen when they're not actually recording, but then lock up once doing so. Is this still a present issue with newest builds?

I made sure to monitor the lock boxes throughout the day if there were any error messages, but only got the happy green flicker, so my understanding is that all should be well.
Click to expand...

You can't tell if the RED clock is in SYNC while the camera is in stand-by. It shows more accurately in record. If you want to know how things are for sure you should shoot the TC slate and examine the R3D or QT Proxy as that is how the editor sees it, and really what matters.
 
Zack and Cinescope are you the same ? It is confusing when you switch users to post on here. I just noticed that you thanked us for our replies with a different name than the thread started with, and you both own a 702T.

There is a Real Names policy on Reduser which you really should participate in so we know who we are talking to.
 
Ya, sorry Brian. I was on his computer at the time, and forgot to swap users. We are different people, but happen to be working together on our current project.
 
One week of shooting down, and the Clockit's worked great. One thing I found out the hard way was to make sure the RED is set to Jam Sync after the camera op does a re-install due to their own tech issues. Good thing we're keeping good slate discipline.
 
It is unfortunate. If yours was like so many RED shoots I see, they pay $1-$2K a day for the RED, DP, various AC's, etc., then choose to spend $100/day on the Production Mixer, audio gear, boom op, etc. You can't even rent a proper mic and mixer for a day for $100. There has been a continuation of poor training of directors and producers - they don't understand that sound is 50% of their project.

Harry Clark said:
I own a couple of SB-3's... though it KILLED me, as a camera guy, to have to purchase what I would consider sound department gear.
They work flawlessly and are simple and relatively inexpensive.
Cheers,
Harry
Click to expand...
 
It is unfortunate, that the RED needs a lockit or similar box to actually work! Why can't the built in TC do what it's supposed to do: work! Lockit boxes were invented for multi-camera shoots or for shoots with cheap cameras to run TC on an audio track.
I wouldn't know of any camera out there in this price class having this somewhat 'shaky' TC implementation. A EX3 i.e. works flawlessly. You jam sync and you're set. No 'add-ons' needed.
 
Karl Lohninger said:
It is unfortunate, that the RED needs a lockit or similar box to actually work! Why can't the built in TC do what it's supposed to do: work! Lockit boxes were invented for multi-camera shoots or for shoots with cheap cameras to run TC on an audio track.
I wouldn't know of any camera out there in this price class having this somewhat 'shaky' TC implementation. A EX3 i.e. works flawlessly. You jam sync and you're set. No 'add-ons' needed.
Click to expand...

RED one can also jam and then you're set. The only reason to keep the lockit on the camera is to automate jamming through power cycles or if you want to always jam with each take.
 
Same thing, unfortunately. Why can a cheap EX3 keep TC after changing a battery? Besides, the RED needs to be shut down as often as possible, often enough in-between takes (!), because of overheating issues.
So, semantics aside, in practice, in the field, the TC implementation does not work. Thats why outside solutions like using a lockit box have to come into play - to fix it.
 
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lockit makes the cutter assistant happy.

no need for over night manual syncing.

what worked best here was to give the TC signal to Audio Channel 3....transcode the footy to DNxHD or ProRes and read the TC from the Audiotrack.

works like a charm for us.
 
Robert Kennedy at Coffey Sound recently did an article with many good tips on timecode setup for the audio crew on RED projects, in the current issue of their magazine -- available for free on the CoffeySound.com website. He has some specifics for Lockit boxes and the Denecke SB-T.
 
Marc Wielage said:
Robert Kennedy at Coffey Sound recently did an article with many good tips on timecode setup for the audio crew on RED projects, in the current issue of their magazine -- available for free on the CoffeySound.com website. He has some specifics for Lockit boxes and the Denecke SB-T.
Click to expand...

Marc, thanks for the link. I'm flying out to LA this afternoon to attend Red day tomorrow. Now I don't have to buy a magazine to read on the plane. I'm reading Coffey's publication instead.
 
I've also used the Ambient 2020 CL and the Deneke SB-T's for feature and 3D work, and it made Timecode a cinch, especially when power cycling.

Tell me... has anyone experienced the "Green Dwarf" phenomenon we used to see with the ENG style cameras like the F900 or Varicam? The rare but problematic green flash frame that is huge PITA to clean up in post?
 
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