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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 :)

RED image and sound

C

conganh

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I am wondering if RED camera interleaves images and sounds or stores them seperately in the Red magazine or somewhere ( external recording equipment ) during the shooting?:help:
 
will there be any options for high resolution sound? like 24bit/96khz incase one needs more headroom to do some level boosting and/or intensive audio processing? It would be cool if there is... if not maybe it would be a good suggestion for future updates
 
With 24 bit 48 KHz you can savely boost the level of all but the most wrongly recorded audio. Sample frequency has no effect on that.

A 96 KHz version could not be an update, since it is a different convertor (hardware).

Of course 96 KHz would be better (as would 32bit floating point), but I´m fine with 24/48.

If there *is* time to work on the audio specs: A input matrix would be cool. Recording one input channel on two different tracks with different settings for gain and compression would have you covered for everything audio.

No need for clunky split boxes.
(Even my little Sony HVR A1E has this.)

Jochen
 
Audio & video is interleaved
 
Josch said:
If there *is* time to work on the audio specs: A input matrix would be cool. Recording one input channel on two different tracks with different settings for gain and compression would have you covered for everything audio.

No need for clunky split boxes.
(Even my little Sony HVR A1E has this.)

Jochen
Click to expand...

Yes, this would be excellent.
 
I know this comes late and the design is already done (I assume) but a digital in would have been my favourite. Its recorded digitally anyway and routing in a digital signal instead (switchable) would have been nice..
Everybody could have used his favourite A/D converter on top alternatively. And there are digital mixers and all the stuff...
 
Josch said:
If there *is* time to work on the audio specs: A input matrix would be cool. Recording one input channel on two different tracks with different settings for gain and compression would have you covered for everything audio.
Click to expand...

WOW, this would save my nerves during the last documentary project, recording a a playing steinway grand and the pianist talking inbetween, recorded with a single gunshot mic. Just for that feature I would buy this camera ... :)

Lp, m.
 
miles said:
WOW, this would save my nerves during the last documentary project, recording a a playing steinway grand and the pianist talking inbetween, recorded with a single gunshot mic. Just for that feature I would buy this camera ... :)

Lp, m.
Click to expand...

most good cameras already do this (seperate gains from 1 input to multiple tracks)... from the DVX-100 on up. I'd like to to see 1 input to 4 tracks in RED. The new sound track pro has a very easy way to switch between tracks... it's just like editing multicam. Very handy.
 
joelnet said:
most good cameras already do this (seperate gains from 1 input to multiple tracks)... from the DVX-100 on up. I'd like to to see 1 input to 4 tracks in RED. The new sound track pro has a very easy way to switch between tracks... it's just like editing multicam. Very handy.
Click to expand...

That would be sweet. Two have saved my hind-quarters more than once. With four, I could take over the world.
 
1- Does the camera have limiters? (Esp. nice sounding ones with soft knee.) That would be useful for run and gun type stuff.

1b- On the other hand, you might be able to do fine by recording your audio with very conservative levels... if the preamps are good, you have a big dynamic range to work with. And then in post, drop a limiter/compressor on the whole track. However, not all NLEs have decent limiter/compressors (and in FCP I don't think you can add effects to the track).

2- In the majority of practical situations, there isn't much point in recording 24bit/96khz into the camera.

Few audio problems are solved by going to 96khz. Most of the time the audio is bad because the microphone is too far away / there is too much background noise. Any additional money/resources should go towards solving that... i.e. better wireless units, recording more tracks (use a separate audio recorder), etc.

That would be sweet. Two have saved my hind-quarters more than once.
Click to expand...
Use a splitter cable?
 
GlennChan said:
Use a splitter cable?
Click to expand...

That'd work. IMO, It's still nicer to have that done in camera though--cleaner, simpler.

For features and such, I use a sound department (or guy), but for run and gun, 'tis nice.
 
Is a splitter cable clean and simple?

Doing it in camera probably adds complexity... like more switches and settings and crap on the camera.
 
GlennChan said:
Is a splitter cable clean and simple?

Doing it in camera probably adds complexity... like more switches and settings and crap on the camera.
Click to expand...

I think in camera makes more sense. It's just a switch to map an input to tracks. Gain will have to be adjusted with or without a splitter cable.

But a splitter cable adds more points of potential noise or failure into the pipeline.
 
GlennChan said:
1b- On the other hand, you might be able to do fine by recording your audio with very conservative levels... if the preamps are good, you have a big dynamic range to work with. And then in post, drop a limiter/compressor on the whole track. However, not all NLEs have decent limiter/compressors (and in FCP I don't think you can add effects to the track).
Click to expand...


Hi Glenn,

I don't know how you define "adding effects to the track", but what you can do in FCP is selecting an audio effect in the bin, drag and drop it on the audio track of your choice in the timeline.

regards,
martin
 
Output matrix

Output matrix

For my purpose even more important than an input matrix is the output matrix of the headphone amp - any information about how this feature will work with the red one?

Regards,
Martin
 
A coaxial input for digital audio would be VERY nice. It is the only craving I have left...
 
I don't know how you define "adding effects to the track", but what you can do in FCP is selecting an audio effect in the bin, drag and drop it on the audio track of your choice in the timeline.
Click to expand...
By adding effects to the track, I mean the entire track and not individual clips.
 
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