Thread: Recording audio directly into a RED DSMC2 camera

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  1. #41  
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    Quote Originally Posted by jordan levy View Post
    ive personally given up on this as through many productions ive had professional sound mixers, camera houses and audio post houses try anything they could, but realistically the in camera sound recording is just made for a scratch track, like the alexa, and back to the film days when good motion picture cameras didnt record audio. having a scratch track is considered a bonus of a motion picture camera with these capabilities. they are just not made to capture good sound, the best and really only option is to have a professional sound recordist with you mixing and capturing and sync in post.
    Exactly. Recording quality audio is a full time job (often more than just one job!) in its own right. Just like camera operator is.

    Don't compromise by shoving the job onto someone else who isn't an expert at it, and 100% focus on just this role of recording the best sound for you on set.
    http://IronFilm.co.nz/Sound/ (Sound Recordist based in Auckland, NZ. Happy to travel too)
    https://www.youtube.com/c/SoundSpeeding
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  2. #42  
    Member Michael Tebinka's Avatar
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    Hi all,

    First of all, thank you for the recommendations on both the Mozegear Mini Papi as well as using the Sounddevices Mix-Pre series.
    I have for a long time used Videodevices (Sounddevices) PIX-E7 monitor with the PIX-LR sound module which basically give me a monitor and sound recording solution in one as the LR-module is really nice (good preamps and analogue limiter). It adds a bit of weight of course but given the solution its nice. Only drawback is that recording sound means it has to be embedded in a video file onboard the monitor/recorder. Now, it also has 2 XLR line-outs which I route via a Tilta XLR to minijack converter and then into the RED Base I/O V-lock module.

    Here is my question, it seems that I sometimes get digital distortion when listening to the audio embedded in the R3D (that has gone via the Base I/O module) whereas the sound in the PIX-E7/PIX-LR sounds clear and nice without digital distortion.
    The signal chain looks like following: Mic signal in via XLR >> PIX LR with limiter on >> line-out via XLR >> Tilta XLR to 3.5mm https://tilta.com/shop/red-3-pin-xlr-audio-port-box/ >> 3.5mm minijack into RED Base I/O.
    Signal from PIX-LR is line-out and controlled to a healthy -16 to -12 signal, i sometimes even have -2db attenuation for the line-out signal for some margin for the reference signal going to the base I/O. In the audio settings on the Scarlet-W Pre-Amp gain is set to 0db (lowest).

    Where is it going wrong in the signal chain?

    I would love to simplify with a smaller monitor and not having to go through the PIX-LR even though its a nice module. If the signal chain was reliable and the recorded sound was in fact "good enough" when embedded in the R3D-file then this would make it easier in some filming scenarios when you are alone. For any other projects I will always use a sound recordist on set.

    Many thanks in advance.

    Michael Tebinka
    Director of Photography / Freelance Colourist


    Scarlet-W #2386
    Portfolio: michaeltebinka.com
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  3. #43  
    Senior Member Blair Thornton's Avatar
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    Quote Originally Posted by Michal Larsson View Post
    Hi all,

    First of all, thank you for the recommendations on both the Mozegear Mini Papi as well as using the Sounddevices Mix-Pre series.
    I have for a long time used Videodevices (Sounddevices) PIX-E7 monitor with the PIX-LR sound module which basically give me a monitor and sound recording solution in one as the LR-module is really nice (good preamps and analogue limiter). It adds a bit of weight of course but given the solution its nice. Only drawback is that recording sound means it has to be embedded in a video file onboard the monitor/recorder. Now, it also has 2 XLR line-outs which I route via a Tilta XLR to minijack converter and then into the RED Base I/O V-lock module.

    Here is my question, it seems that I sometimes get digital distortion when listening to the audio embedded in the R3D (that has gone via the Base I/O module) whereas the sound in the PIX-E7/PIX-LR sounds clear and nice without digital distortion.
    The signal chain looks like following: Mic signal in via XLR >> PIX LR with limiter on >> line-out via XLR >> Tilta XLR to 3.5mm https://tilta.com/shop/red-3-pin-xlr-audio-port-box/ >> 3.5mm minijack into RED Base I/O.
    Signal from PIX-LR is line-out and controlled to a healthy -16 to -12 signal, i sometimes even have -2db attenuation for the line-out signal for some margin for the reference signal going to the base I/O. In the audio settings on the Scarlet-W Pre-Amp gain is set to 0db (lowest).

    Where is it going wrong in the signal chain?

    I would love to simplify with a smaller monitor and not having to go through the PIX-LR even though its a nice module. If the signal chain was reliable and the recorded sound was in fact "good enough" when embedded in the R3D-file then this would make it easier in some filming scenarios when you are alone. For any other projects I will always use a sound recordist on set.

    Many thanks in advance.
    If you're getting bad audio results with the PIX-LR, I really suggest renting a Sounddeevices Mix Pre-D and getting a high quality cable like the Remote Audio cable https://www.trewaudio.com/product/remote-audio-camcxyd/
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  4. #44  
    Member Michael Tebinka's Avatar
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    Hi Blair

    I have also used that kind if cable (custom made to specs) but getting the same result.
    How does the cable result in digital distortion?

    Michael Tebinka
    Director of Photography / Freelance Colourist


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  5. #45  
    Senior Member Blair Thornton's Avatar
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    A poor quality cable can have a bad connection which could result in distortion.

    Cables are relatively cheap, so to limit these issue, it's wise to buy quality.
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  6. #46  
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    Quote Originally Posted by Blair Thornton View Post
    If you're getting bad audio results with the PIX-LR, I really suggest renting a Sounddeevices Mix Pre-D and getting a high quality cable like the Remote Audio cable https://www.trewaudio.com/product/remote-audio-camcxyd/
    The MixPreD is so old, that unless you're picking it up for less than a song on eBay (unlikely, prices are still high even on eBay) then I'd recommend the newly released MixPre3 instead if you're going to be mounting a recorder on a camera.
    http://IronFilm.co.nz/Sound/ (Sound Recordist based in Auckland, NZ. Happy to travel too)
    https://www.youtube.com/c/SoundSpeeding
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  7. #47  
    Member Michael Tebinka's Avatar
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    There was nothing wrong with the audio going into the PIX-LR, the issue has been with the signal onward, somewhere between the line output and the recorded audio in camera.

    Michael Tebinka
    Director of Photography / Freelance Colourist


    Scarlet-W #2386
    Portfolio: michaeltebinka.com
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  8. #48  
    Hey Blair, thanks for sharing the setup! Old post but I tried to track down some of the parts you mentioned, specifically checking out your quick release base plate setup. What is it? I'm looking for a top and bottom QR where I can pull the camera from the rails easily and also clip both (camera + rails) into a tripod/shoulder rig/etc. Is your setup a RED QR and 15mm rail blocks mounted to a cheese plate?

    Thanks,
    Allen

    Quote Originally Posted by Blair Thornton View Post
    I use the DSMC2 V-LOCK and get great results with the SD MixPre-D. Love having the audio synced with the R3D, the analog limiters and high quality pre-amp on the MixPre-D.

    IDX A-CP(A) Cheese Plate https://bhpho.to/2t9hjTB + DSMC 15MM ADAPTOR http://bit.ly/2tuAbi8 attached to QUICK RELEASE (DOVETAIL). Connected with Remote Audio cable https://www.trewaudio.com/product/remote-audio-camcxyd/

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  9. #49  
    Senior Member Patrick Tresch's Avatar
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    My setup.


    This is an audio clip from the camera file

    https://clyp.it/lankfkyn



    MS CCM41_CCM8 Schoeps

    M2D2 limiter set to -10db in the Mixer menu and audio gain at +35db

    Unballanced stereo out (TA3) from the M2D2 to minijack input of the camera set to 0dB gain.



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  10. #50  
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    Greetings. I have been reading through this thread. I know very little about audio tech, but currently have a project where I need to record directly into my RED Gemini. When I have tried this in the past using an A Box, and setting levels in the camera menu, the results have always been weak, with the audio very low. I was using a Sennheiser shotgun mic. I am looking for a simple set-up to let me record with a boom mic in the field as a one man operation. THANKS
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