Red Audio Specs

[Ray]

Hi Folks

Where can I find any more specs on the Audio facilities on the RED camera, apart from the "24 bit uncompressed 48kHz" as per the website?

Many thanks

Ray

[Adrian T.]

What else do you wanna know?
4 channels, 16/24 bit 48kHz
4 channel balanced inputs (Mini-XLR), optional phantom power
2 channel balanced output
1 headphone minijack output
Gain control
And I'm pretty sure they use high quality A/D converters.

[underachiever]

Signal-to-noise ratio of the preamps is not an irrelevant specification. It would be amazing if they packed something in there which could actually make good use of the 24 bit resolution. But you just never know with the red team?

[octophonic]

From discussions I have had with some of the team - the camera will embed the sound media into the RAW data captured and needs to be extarcted into BWAV with a conversion utility RED are working on. For my application I think the audio in the camera is really just a guidetrack reference of what is being captured by the sound recordist on their own hard disk recorder. Common timecode and Metadata will be used to relink to the original sound media in Post Production. Stuart English has some great ideas for getting the remote sound into the camera with little or no latency.

[Robert Jackson]

From discussions I have had with some of the team - the camera will embed the sound media into the RAW data captured and needs to be extarcted into BWAV with a conversion utility RED are working on. For my application I think the audio in the camera is really just a guidetrack reference of what is being captured by the sound recordist on their own hard disk recorder. Common timecode and Metadata will be used to relink to the original sound media in Post Production. Stuart English has some great ideas for getting the remote sound into the camera with little or no latency.

You know, as kind of a novelty, and since the RED running Flash should be silent, it might be cool to mount a 4-mic surround array up on top of the camera. It would be really cool to shoot super-high-quality verite stuff with the room ambience pretty much intact. Maybe something like that four-channel Soundfield array.

[octophonic]

RRJackson you are already thinking outside the box which is exactly what this new innovation from RED is going to do for the industry. I had the pleasure of being the sound recordist for this "Test" and had my boom right next to this camera for a good deal of the close-up action. We had drives on board but the absence of camers WHINE was a real joy. Go, go, RED you good thing GO! As you mentioned that new Soundfield Array is going to work really well on this camera. The only consideration there is weight for the operator. Maybe a lightweight quad DPA rig would be kinder. Either way we are going to be breaking new ground here. Bring it on.

[Robert Jackson]

RRJackson you are already thinking outside the box which is exactly what this new innovation from RED is going to do for the industry. I had the pleasure of being the sound recordist for this "Test" and had my boom right next to this camera for a good deal of the close-up action. We had drives on board but the absence of camers WHINE was a real joy. Go, go, RED you good thing GO! As you mentioned that new Soundfield Array is going to work really well on this camera. The only consideration there is weight for the operator. Maybe a lightweight quad DPA rig would be kinder. Either way we are going to be breaking new ground here. Bring it on.

I remember reading about Tony Schwartz doing field recordings in the 50's. I guess he used to walk around Manhattan and record ambient sound. Then he'd go to nightclubs and do a show where he just played back these ambient recordings. He's apparently got a massive collection of that stuff in his apartment that he's leaving to the Smithsonian, if I'm not mistaken.

It seems like coupling surround recording with very detailed image capture could bring verite doc shooting to a whole new level. When Robert Drew was following Kennedy around it would have been really hip to hear what was going on behind the camera and hear the sounds of the room in detail. It wouldn't be very practical on most movie sets, but for doc guys something like this could be an amazing tool.