Still love this location/framing! I found you here talking about red stuff and the Canon 5D Mark IV! Finding your channel actually made me realise that I could just fire up my camera and talk about my experience starting and building my company. Discuss pros and cons and talk about some misconceptions I’d noticed in the industry. Been with you on this journey ever since tuning into to your longer lives from this era! Keep charging ahead
Nice video! I’m hoping to purchase a RED GEMINI by the beginning of next year. Thanks for showing which audio devices work best, sounds like your now headed the RED way? I saw your older video that you rented an Arri. Would you move to Arri? Arri Amira?
Thank DChaveit415 I went the RED route a little over a year and a half ago. I do like the image that comes out of Arri cameras but I don't think I could switch to Arri at this point because I'm hoping to move all commercial production to Full Frame and I don't have Alexa 65 clients at this point.
I am a bit confused about option 3. Does the Redvolt Expander have a builtin microphone preamp? So when you have the expander, you can just plug any microphone directly into the XLR inputs? And using option 3, will recorded audio automatically be synced up with the video without any additional processing in post production?
Great video, but honestly a Tentacle Sync pair is $519 and solved all audio sync issues. I am a hobbyist with a RED Scarlet-W and this combo is so easy.
So I will be using a red and he has the V mount adapter. I have a 4 lav setup with a H6 zoom also I have a boom. How am I connecting my zoom to the camera I have a rode transmitter that I could plug in or I can purchase something else. Rode wireless Go 1.
hi! great video! how do you mount the external mic onto the RED? My husband and i have a RED helium but not sure how to mount the mic so its not in the way! thank you!
The majority of microphones are professionally stabilized with a shockmount especially to reduce vibration, or exactly the response Carlos gave you, they're boomed separately from the camcorder. If you don't want to boom the microphone, I'd recommend to purchase a cage for your RED. Tilta offers a variety of cages, but I'd recommend the Teradek OMOD XLR2 Cage. This is the cage that I own for my RED. This protects your cinema gem plus it provides numerous holes to mount your microphone plus other accessories at any location you'd prefer.
I'm just watching this now. I was considering the new RED production module. How do you control levels? I don't see any external controls. Do you have to use the camera menu?
So I will be using a red and he has the V mount adapter. I have a 4 lav setup with a H6 zoom also I have a boom. How am I connecting my zoom to the camera I have a rode transmitter that I could plug in or I can purchase something else.
@carlosq00 I have a question and your professional guidance will be greatly appreciated. I will try to be as very descriptive as possible. I'm trying to comprehend what is the best method for me to record scratch/reference audio for the production of music videos. Obviously the quality doesn't need to be ultra pro level since it will only be used for reference. It will never be kept, always replaced in post with the studio soundtrack. The location will take place outdoors very late at night, the camera will be mounted to a crane and then elevated high in the air also low to the ground, while the source of playback will be from a Bose speaker mounted on a stand with placement on the street with lighting. I don't believe I will be able to use this speaker at very high volume levels to respect noise ordinance within my county, so I wanted to ask what is the best method for these circumstances, proper placement of recording, etc
I am looking everywhere to understand the plug you need to get into the Red Monstero WITHOUT a Red volt expander - THAT is the budget option if you are living in the real world! However nowhere easy to find out what that plug looks like.
If you're using a lav mic, this is the plug that you would need to get the receiver unit into Monstro bhpho.to/3ClxGzF if your receiver is something like the Sennheiser AVX system which uses a 3-Pin XLR then you need this type of cable bhpho.to/37ljCYm and if you are using a shotgun mic that provides their own power like this one bhpho.to/3fvBS5N you can use the same XLR adapter cable which comes in various lengths should you need to boom it say during an interview. On DSMC2 cameras you have to use one of their expansion modules to gain access to external audio, and power the camera. Those would be the lowest cost options to get audio into your camera.
I haven't so maybe save the log and send it in to RED so they can give you some suggestions. Also, on DSMC2 when formatting media, we were never forced to do a Secure Format, and I remember buddies coming across random weird errors from time to time that were solved by secure formatting the media.
I'm having some issues with my red audio. When I record audio I can hear the count of the timecode, it's almost like a fluttering sound. How does this even appear in the audio when I have a scratch mic? Nobody can seem to solve this issue and I want to make sure this does not happen in a big project. Thanks.
Don't be saying it matches the Sound Devices Cashmere's. No production sound recordist or audio post eng would prefer the Red internal audio, even if its one cast.
You realize that what you’re saying and what I am saying are both true and subjective. On my crews my sound engineer tells me I’m good with audio straight from the RED module, should I challenge him? Or trust that he is my sound guy and continue to push forward? And BTW none of my commercial clients have ever complained or ended up disappointed with what we deliver...so where do we go from here?
@@carlosq00 very interesting i must say. There are a lot of reasons for my suggestion. The main one is the fact that the Analog Limiters in the Sound Devices means hot sounds will never clip. Digital limiters like those found in Zoom products will attenuate but the sound will clip if it's too hot. I'm not even going to mention floor noise levels prob being very high in the Red (compared to Sound Devices). If i was doing Audio Post I'd be stressed of i need to work with Camera audio.. We're also not even touching on the routing and number of Isolated tracks u can have.. Very interesting to hear your workflow though.
@@carlosq00 here's what you can do if you want to reaffirm your position: get a mono hop from a mixer w sound devices setup. That way you'll have the mixers sound and the camera sound the mixer sends to the red.. then you'll have a good comparision of the 2.
Still love this location/framing! I found you here talking about red stuff and the Canon 5D Mark IV! Finding your channel actually made me realise that I could just fire up my camera and talk about my experience starting and building my company. Discuss pros and cons and talk about some misconceptions I’d noticed in the industry. Been with you on this journey ever since tuning into to your longer lives from this era! Keep charging ahead
Thanks Michael
Hello ,can you show as how to connect mixpre 3 with red epic , what cable you use? And what microphone we need for short film ? Thnx
I'm going for the expander, thanks so much for this!
It doubles the length of the camera but it is totally worth it for small or no crew productions!
Nice video! I’m hoping to purchase a RED GEMINI by the beginning of next year. Thanks for showing which audio devices work best, sounds like your now headed the RED way? I saw your older video that you rented an Arri. Would you move to Arri? Arri Amira?
Thank DChaveit415 I went the RED route a little over a year and a half ago. I do like the image that comes out of Arri cameras but I don't think I could switch to Arri at this point because I'm hoping to move all commercial production to Full Frame and I don't have Alexa 65 clients at this point.
Thanks, You got my support as usual.
Much appreciated!
I am a bit confused about option 3.
Does the Redvolt Expander have a builtin microphone preamp?
So when you have the expander, you can just plug any microphone directly into the XLR inputs?
And using option 3, will recorded audio automatically be synced up with the video without any additional processing in post production?
Yes to both your questions. But now the RedVolt is discontinued and the Production Module has taken it's place. Same or better quality though.
Very nice. This Video should be on Red's Website!
Thank you Wayne
Great video, but honestly a Tentacle Sync pair is $519 and solved all audio sync issues. I am a hobbyist with a RED Scarlet-W and this combo is so easy.
+A.B. Dada yes I also use the Tentacle 🐙 Sync but only on multi cam shoots and it definitely gets the job done ✅ 👊🏽👍🏽🎥
I highly suggest it for single cams shoots with external sound -- importing into Resolve is literally 1 click and sync'd.
@@carlosq00 what The TESTICLES?
@@AdamBrianDada would like more info on how to use tentacles system. I left a comment with my audio setup
So I will be using a red and he has the V mount adapter. I have a 4 lav setup with a H6 zoom also I have a boom. How am I connecting my zoom to the camera I have a rode transmitter that I could plug in or I can purchase something else. Rode wireless Go 1.
hi! great video! how do you mount the external mic onto the RED? My husband and i have a RED helium but not sure how to mount the mic so its not in the way! thank you!
I boom the mic so I don't actually mount it on the camera. And for run-and-gun, I use Lav mics.
The majority of microphones are professionally stabilized with a shockmount especially to reduce vibration, or exactly the response Carlos gave you, they're boomed separately from the camcorder. If you don't want to boom the microphone, I'd recommend to purchase a cage for your RED. Tilta offers a variety of cages, but I'd recommend the Teradek OMOD XLR2 Cage. This is the cage that I own for my RED. This protects your cinema gem plus it provides numerous holes to mount your microphone plus other accessories at any location you'd prefer.
Hey Carlos, I have a red scarlet W and Mix Pre 3. But how do you connect the Mix pre to the Red Scarlet ?
If you are using something like the VLock Expander, you can use the Stereo Out from the MixPre3 to the Mic In on the RED
What if you want to run wireless tho?
@@alejandrocuadra8803 I think then you just need a wireless mic system
thank youuuu
👊🏽
I'm just watching this now. I was considering the new RED production module. How do you control levels? I don't see any external controls. Do you have to use the camera menu?
Robb Fischer phantom power and mic or one input is done on the module, gain and mix output is controlled via the camera menus
So I will be using a red and he has the V mount adapter. I have a 4 lav setup with a H6 zoom also I have a boom. How am I connecting my zoom to the camera I have a rode transmitter that I could plug in or I can purchase something else.
Rode wireless Go 1 I was thinking about getting tentacles
I got the Tentacle Sync E and have never looked back.
What about for the RED Scarlet MX or older Epic?
new video in the works
hi, thank you. is there any updated idea about a wired connection from XLR to 3.5 mm input?
With phantom power only available on RAPTOR
@@carlosq00 anything similar to pre-mix 3 that can be used on a canon r5?
@carlosq00 I have a question and your professional guidance will be greatly appreciated. I will try to be as very descriptive as possible. I'm trying to comprehend what is the best method for me to record scratch/reference audio for the production of music videos. Obviously the quality doesn't need to be ultra pro level since it will only be used for reference. It will never be kept, always replaced in post with the studio soundtrack. The location will take place outdoors very late at night, the camera will be mounted to a crane and then elevated high in the air also low to the ground, while the source of playback will be from a Bose speaker mounted on a stand with placement on the street with lighting. I don't believe I will be able to use this speaker at very high volume levels to respect noise ordinance within my county, so I wanted to ask what is the best method for these circumstances, proper placement of recording, etc
Can you txt me Bro?
@@carlosq00 yes what's your number C
I am looking everywhere to understand the plug you need to get into the Red Monstero WITHOUT a Red volt expander - THAT is the budget option if you are living in the real world! However nowhere easy to find out what that plug looks like.
If you're using a lav mic, this is the plug that you would need to get the receiver unit into Monstro bhpho.to/3ClxGzF if your receiver is something like the Sennheiser AVX system which uses a 3-Pin XLR then you need this type of cable bhpho.to/37ljCYm and if you are using a shotgun mic that provides their own power like this one bhpho.to/3fvBS5N you can use the same XLR adapter cable which comes in various lengths should you need to boom it say during an interview. On DSMC2 cameras you have to use one of their expansion modules to gain access to external audio, and power the camera. Those would be the lowest cost options to get audio into your camera.
DSmC 2 redvolt expander fits on the Komodo?
Nope
Have you ever had Audio Buffer Overflow error messages? I can't figure out why I'm getting this message
I haven't so maybe save the log and send it in to RED so they can give you some suggestions. Also, on DSMC2 when formatting media, we were never forced to do a Secure Format, and I remember buddies coming across random weird errors from time to time that were solved by secure formatting the media.
I'm having some issues with my red audio. When I record audio I can hear the count of the timecode, it's almost like a fluttering sound. How does this even appear in the audio when I have a scratch mic? Nobody can seem to solve this issue and I want to make sure this does not happen in a big project. Thanks.
Which RED and what kind of lenses are you using - I’m thinking the camera may be picking up the lens motor sound. How are you capturing sound?
@@carlosq00 I'm using a scratch mic by Olympus and a mnaul lens
What happens if you disconnect the mic all together and just use the internal mic to pick up the scratch audio?
@@carlosq00 there is no internal mic on my model
MisterWealth so is the sound that you hear only when the mic is connected? If so, it may be shielding issue on the mic 🎤 or noisy preamps
I wish when you describe each Microphone you could show it on your setup
maybe we'll revisit this subject in 2020 with more detail.
How do you mount these mics on your camera?
The only way to feed three mics into a camera would be to use an external audio mixer ands then send a stereo mix to the camera.
A little better
Not much help, you need to show us how to hook up the mixer to the camera and go through the camera menu settings for the audio.
10-4
Yes
Don't be saying it matches the Sound Devices Cashmere's. No production sound recordist or audio post eng would prefer the Red internal audio, even if its one cast.
You realize that what you’re saying and what I am saying are both true and subjective. On my crews my sound engineer tells me I’m good with audio straight from the RED module, should I challenge him? Or trust that he is my sound guy and continue to push forward? And BTW none of my commercial clients have ever complained or ended up disappointed with what we deliver...so where do we go from here?
@@carlosq00 very interesting i must say. There are a lot of reasons for my suggestion. The main one is the fact that the Analog Limiters in the Sound Devices means hot sounds will never clip. Digital limiters like those found in Zoom products will attenuate but the sound will clip if it's too hot.
I'm not even going to mention floor noise levels prob being very high in the Red (compared to Sound Devices).
If i was doing Audio Post I'd be stressed of i need to work with Camera audio..
We're also not even touching on the routing and number of Isolated tracks u can have..
Very interesting to hear your workflow though.
@@carlosq00 here's what you can do if you want to reaffirm your position: get a mono hop from a mixer w sound devices setup. That way you'll have the mixers sound and the camera sound the mixer sends to the red.. then you'll have a good comparision of the 2.