Dwight Rhodes
03-08-2009, 09:47 PM
I recently shot a commercial with 2 RED Cameras (This is not my first experience with the Red One). 'A' camera was #1041 and I believe 'B' camera was #1088 or #1080, I'll confirm later. I fed -20dBfs tone to all three devices. My Sound Devices 744T and the two Red Cameras. Both Cameras were build 17. Both camera were 0dB not +10dB.
My first observation is that the meters on the Red camera bear little or no relationship with reality. I lined up both cameras to the appropriate points, and listened to the signals at the camera with my headphones. Both Cameras displayed the same meter levels and movement. The levels appeared to be in the expected range. However what was recorded on each system was completely different. The SD 744T chugged along happily, recording everything with reliable fidelity. 'A' camera recorded the signal roughly 30-35dB lower than expected. 'B' camera recorded everything roughly 10-15dB below expected level. We also had problems locking the camera to the ambient lockit boxes, but eventually got that working. The XLR to Mini-XLR Cables were supplied by Clairmont, so I don't know if they are from Red or Clairmont, but I was not impressed with the quality of the supplied cables. They did not include any padding. I'm having my own set of cables made up.
We confirmed the actual levels in FCP. It's the first time I've to use an external device to meter any audio-recording capable camera. This is not terribly workable - some would call it unworkable.
The point of this missive is not to diss the Red, I love the picture quality and the company ethos, I expect them to take over the industry.
I do however feel that something is deeply flawed on the audio side of things. The problem is that the sound features on the Red are simply not reliable or ready for prime time. Luckily, I have always treated these cameras like soundless film cameras, and used both Ambient lockit boxes and timecode slates to ensure that quality sound can be sync'ed from my SD744T at a latter date. I am suspicious that the Red One will never be a reliable audio device, no matter what build.
It is my hope that more attention is paid to audio on the Scarlet/Epic Systems. Here's my wish list.
- 2 channels of sound on standard XLR's (I don't need more, the multitrack is on the the sound cart)
- 2 real, easily accessable level controls on the camera body. (Level controls should not be burried in a layered menu, nor should there be only two options)
- Meters that display what is actually happening!
The next generation is an opportunity to repair this weak link in the chain. I usually get the mix right, so there is no need for my multi-track. This is a huge cost saving, and one more argument in favor of the the Red. As it stands now, to ensure reliable quality sound, it is necessary to budget for post syncing.
I hope my feedback is of use to your engineers. I know that this has been a mostly negative message, but I am impressed with what you have achieved visually, now I hape you can bring the same quality and detail to the sound side of things.
My first observation is that the meters on the Red camera bear little or no relationship with reality. I lined up both cameras to the appropriate points, and listened to the signals at the camera with my headphones. Both Cameras displayed the same meter levels and movement. The levels appeared to be in the expected range. However what was recorded on each system was completely different. The SD 744T chugged along happily, recording everything with reliable fidelity. 'A' camera recorded the signal roughly 30-35dB lower than expected. 'B' camera recorded everything roughly 10-15dB below expected level. We also had problems locking the camera to the ambient lockit boxes, but eventually got that working. The XLR to Mini-XLR Cables were supplied by Clairmont, so I don't know if they are from Red or Clairmont, but I was not impressed with the quality of the supplied cables. They did not include any padding. I'm having my own set of cables made up.
We confirmed the actual levels in FCP. It's the first time I've to use an external device to meter any audio-recording capable camera. This is not terribly workable - some would call it unworkable.
The point of this missive is not to diss the Red, I love the picture quality and the company ethos, I expect them to take over the industry.
I do however feel that something is deeply flawed on the audio side of things. The problem is that the sound features on the Red are simply not reliable or ready for prime time. Luckily, I have always treated these cameras like soundless film cameras, and used both Ambient lockit boxes and timecode slates to ensure that quality sound can be sync'ed from my SD744T at a latter date. I am suspicious that the Red One will never be a reliable audio device, no matter what build.
It is my hope that more attention is paid to audio on the Scarlet/Epic Systems. Here's my wish list.
- 2 channels of sound on standard XLR's (I don't need more, the multitrack is on the the sound cart)
- 2 real, easily accessable level controls on the camera body. (Level controls should not be burried in a layered menu, nor should there be only two options)
- Meters that display what is actually happening!
The next generation is an opportunity to repair this weak link in the chain. I usually get the mix right, so there is no need for my multi-track. This is a huge cost saving, and one more argument in favor of the the Red. As it stands now, to ensure reliable quality sound, it is necessary to budget for post syncing.
I hope my feedback is of use to your engineers. I know that this has been a mostly negative message, but I am impressed with what you have achieved visually, now I hape you can bring the same quality and detail to the sound side of things.