Anyone Run a 552 (or similar) with a RED Epic?

M

Max H.

Member
Hi All-

I was hoping that someone out there has some experience interfacing their field mixer/recorder with a RED Epic. Some questions-

1. I'm trying to figure out if I can send timecode from the RED to my 552 in order to stamp files. The Epic has a
SYNC connection (4-Pin LEMO), but it seems like it doesn't send out timecode. Perhaps an external box sent to both would work?

2. Does the RED have a REC RUN mode that would allow me to use the 552's auto-record feature?

3. Has anyone successfully used a breakaway return cable to the RED with the XLR module?

On a side note- is there ever an occasion when you want to record timecode to track instead of stamping files?

Cheers for any insight and Merry Christmas!
Max
 
1- The epic operators I've worked with so far have simple lemo to bnc breakouts.
I've always sent timecode rather than receive but I know the breakouts have a timecode out so I don't see why that would be a problem.

2- Sorry no idea, I've always used freerun with red's and epics.

3- I usually just send a reference feed to red's but on my last epic job they wanted audio to camera (as well as double system).
The headphone amp in the epic was actually pretty good and the sound quality coming back to me was pretty darn good as well.
Biggest issue is numerous times through the day I would lose the headphone feed and the only way they got it back was rebooting the camera each time. (don't ya just love that)
While the metering was still showing a signal I have no idea if audio was going to the camera in those moments.

4- If you can stamp it, thats the way to go 99% of the time in my opinion. Running linear timecode on an audio track might be the way to go when you're dealing with non-timecode recorders.
 
Thanks Rippie. But do you have a separate box that you send to both the 552 and camera?

The LEMO to 3-BNC cable may do the trick, but everything in the RED manual refers to inputting timecode on those cables, not outputting.
 
Max H. said:
Thanks Rippie. But do you have a separate box that you send to both the 552 and camera?

The LEMO to 3-BNC cable may do the trick, but everything in the RED manual refers to inputting time code on those cables, not outputting.
Click to expand...

Sorry I should have been more clear. Anytime Ive been on red/epic shoots Ive used a 788T as my mixer. I still used the same ol' breakaway cable send to the epic
so there is no difference in my answer about that.

If you wanted to send time code to the epic yes you could use an eternal ambient or denecke time code generator. As far as the red not being able to export time code,
someone else chime in here but I have nothing to believe that it can't.
 
here is my experience with timecode on the red.

It sucks.

As far as I have seen, there is no TC out and free run is a bust due to all the restarts and drift. The best option for you i would think would be to have a lockit box or sb3 with a constant lemo connection. There are a few options for getting the TC signal back to yourself, you just have to figure out which one is best for you.

I would convert the bnc out to a 1/8th into a wireless transmitter, then convert it back to whatever you need to go into your gear. This would give you both a constant signal from the generator. and you would be one less cable tying you together.
(TC is just a square wave, there is no other magic to it.)

That is one option. There are a few ways to do it though.
 
Whatever you do, make sure you clap slate the takes. In case 'something happens' with the TC, which seems to a common occurrence with any RED.
Aside from that, I'd use a lockit box and a camera hop for additional sync.
 
Rippie said:
Terry, the 552 will stamp timecode on it's files that it sees from an external device. It does not have its own time code generator.
Click to expand...
Terry_Lasater said:
Will the SD 702 (non-T version) do the same?
Click to expand...

watchdrama8jm.gif
 
Fair enough, thanks.

I'm looking at buying a 702 for use with DSLR shooting. Not in need of a TC model at the moment, but might want that feature for shooting with other cameras in the future.

If anyone can answer, I'd like to know if the 702 would record the TC generated from a camera.
 
Well.. sort of... one could record it on an audio track as LTC, but then only one track would be available for program audio, and then need a NLE that can read the a LTC track or lay it back with an externall,,,vb*&%^n ,,,... basically no, you would want the 702T, 744T or 788T.
 
Okay, thanks.

Yeah, I don't want to give up an audio channel.

Someone has offered me a 702T in great condition for $1,900. I might bite.
 
Terry_Lasater said:
Okay, thanks.

Yeah, I don't want to give up an audio channel.

Someone has offered me a 702T in great condition for $1,900. I might bite.
Click to expand...

And that shows how well professional-grade gear holds its value. A new 702T is about $2500 so that used one has retained about 80% of its original value - consumer and prosumer gear doesn't even come close.
 
That's assuming I don't negotiate a lower price. ;)

I bought a used SD 302 mixer recently for $900 (with a Porta Brace bag). That seems to be the average on the used market. New, of course, they sell for $1,300 (without bag).

Point taken that it is quality gear. :thumbsup:
 
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