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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 :)

Sound recording at all fps ?

+1 I would love to have that kind of somosound that I get out of my iphone when shooting over cranked.
 
+1 This and freely adjustable project framerates (even if those aren't standardized yet). For example i would love to shoot (and playback) in 72 and 120fps, with sound.
 
+1

It's the only thing I miss from blackmagic cameras, when you overcrank you get a real time audio track that is shorter than the video sequence (in both raw and prores). It's really useful when you slo-mo 4x (96fps ie) then you get back to normal speed because audio is still there then.
Separate audio recording is a mess when you're a one man crew.
 
+1 as well. Would be a huge help when shooting wildlife, or natural history content.
 
Which camera's do record sync sound when over or undercranking?

Would you want it to record sound on Timelapse shots as well?
 
Markus Ketterer said:
is it possible to enable sound recording at all fps in a future firmware update ?
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This is one of many reasons why it's necessary to rent or purchase a high-quality external timecode sound recorder with a mixer. The sound recorder can also record sound when the camera isn't recording, can get wild tracks, sound effects, and usable sound no matter what the camera is doing. The on-set sound mixer will also have the ability to adjust levels and bring the microphone into an optimum position, which a camera operator can't do.

To me, the only indefensible use of recording sound in-camera is a) in war or violent situations, like demonstrations or combat, where the crew is literally running and dodging bullets, and b) clandestine situations where you're doing news or documentary material on the street or in areas where you're trying not to be observed. If it's a controllable situation, particularly like scripted features or TV, then there's no excuse for not having a sound department. I get not having a huge budget, but there are ways to do this affordably.
 
Or in short, one of my favorite sayings, "without sound it isn't even radio" :)

David




Marc Wielage said:
This is one of many reasons why it's necessary to rent or purchase a high-quality external timecode sound recorder with a mixer. The sound recorder can also record sound when the camera isn't recording, can get wild tracks, sound effects, and usable sound no matter what the camera is doing. The on-set sound mixer will also have the ability to adjust levels and bring the microphone into an optimum position, which a camera operator can't do.

To me, the only indefensible use of recording sound in-camera is a) in war or violent situations, like demonstrations or combat, where the crew is literally running and dodging bullets, and b) clandestine situations where you're doing news or documentary material on the street or in areas where you're trying not to be observed. If it's a controllable situation, particularly like scripted features or TV, then there's no excuse for not having a sound department. I get not having a huge budget, but there are ways to do this affordably.
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David Battistella said:
Which camera's do record sync sound when over or undercranking?
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I don't want synced, stretched sound. I find it useless. But a real time audio track is useful, for example when I overcrank and then I want to go back to normal speed.
And blackmagic ursa can do that, both in raw (separate audio file with different duration) and prores (when you overcrank real time audio is at the beginning of the clip, the rest is silent: you just detach audio, speed up video and you're done).
I wish RED can do that too. External timecode sound recorder with a mixer is not always a solution when shooting documentaries.
 
I'm so sick of hearing about why we need dedicated recorders and sound techs. We all get it, and in a perfect world that's what we'd do.

But "perfect" isn't how things sometimes go. So please, can we for once maybe just respect that some of us have different needs?

And +1 to the method that Fabio described.
 
Nathan DuMoulin said:
I'm so sick of hearing about why we need dedicated recorders and sound techs. We all get it, and in a perfect world that's what we'd do.

But "perfect" isn't how things sometimes go. So please, can we for once maybe just respect that some of us have different needs?

And +1 to the method that Fabio described.
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I hear this - and agree completely. But I do tend to think that recording on a Zoom H4n or equivalent might make as much or more sense if you want audio during over cranked recording (or even time-lapse). There really is no "synching" necessary so what's the difference?
 
I do think that if they could do this they would. I'm not sure it's actually possible within the r3d file. It's been like this since the first RED camera. This discussion probably came up then and there is most likely a reason for it, (I don't know it)

and i I get why people would want it, the reasons make sense, but I think that the it might not be possible based on how the r3d file is written.
 
Terry VerHaar said:
I hear this - and agree completely. But I do tend to think that recording on a Zoom H4n or equivalent might make as much or more sense if you want audio during over cranked recording (or even time-lapse). There really is no "synching" necessary so what's the difference?
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You don't have to run two different machines and all the accommodations that come with having to do that.
 
Nathan DuMoulin said:
I'm so sick of hearing about why we need dedicated recorders and sound techs. We all get it, and in a perfect world that's what we'd do. But "perfect" isn't how things sometimes go. So please, can we for once maybe just respect that some of us have different needs?
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No. You have no excuses for being unprofessional when it comes to sound, even if it's inconvenient or beyond your current knowledge. That's the way life and production are. You have to respect the process, not come up with ignorant excuses as to why you don't know how to do it or can't afford to do it right.

As my pals in post sound will tell you: you can either pay for good sound now, or you can pay for it later. But you're never going to get good sound just slapping a mic on top of a camera.

Trust me, hiring a cheap sound guy won't get you perfect sound by any means. There are numerous factors that will determine how usable the sound will be -- chief among them background noise and the noise of the location itself. No one can control that. All of these problems are solvable, and it's not rocket science. And some of the cures are surprisingly inexpensive. But you can't solve them by saddling it all on the camera department.
 
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