double system audio with RED
Does the Red One have internal timecode for synching with a separate audio recorder?
On what connector is timecode accessed?
I recorded sound internally on the last Red One shoot I worked on, and was not impressed with the sound capabilities, due to the need to adapt the connectors (XLR to mini-XLR), and the inability to adjust the line level input.
(Mic level hitting the camera can be adjusted, but not the line level input). My experience was that the default setting for mic level in was too high and I had to pester the cameraman to lower the input 3 times to prevent clipping (at least in the headphone circuit), even while I was riding the level for interviews (I'm an experienced mixer of over 15 years and take care to deliver great levels). Another flaw - the optional "cage" around the camera - blocks 2 of the 4 audio inputs, but these can be reassigned within the software.
My conclusion is that the audio is better approached with a separate recorder, like a traditional film shoot.
I have a reliable old DAT field recorder, Fostex PD-2, which can record 29.97, but not 23.976.
If recording 24P, the pull-down is time-consuming to accomplish outside of a telecine and not feasible for the clients I work with.
Are sound mixers recording at 29.97 or 23.976 for synching with Red One at 24P?
Are you slating every take, or is there a way to synch timecode, so you can skip the slates with confidence, like when recording sound with an Aaton film package that has an Origin C for master timecode?
Or is the sound mixer using timecode that doesn't have anything to do with the video clips?
Are you synching in post with camera slates, or by other means?
Please advise! I know I will be working with this camera more often in the future and want to develop a functional approach. (hah, it surely means investing in a disc field recording device!)