RED Epic Dragon Sound Help
This is all the sections from the RED EPIC manual that relate to audio so you can see it in one easy place.
Also Check out: RED EPIC and All Other Camera Audio and Timecode Inputs and Outputs
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RED EPIC Dragon Sound AUDIO RECORDING
The RED EPIC can record up to two discreet channels of microphone level uncompressed 24-bit, 48 KHz
audio (four channels of microphone level or line level audio inputs when equipped with a PRO I/O
Module), that are synchronized with video and timecode, to REDMAG 1.8” SSD media.
Input signals are routed via a high quality pre-amplifier and soft clip limiter in order to achieve the desired
audio reference / recording level and to maximize dynamic range.
To assist with audio reference level setup, the camera provides a color-coded 4dB per division Peak Level
meter in the Graphical User Interface with 0dBu (-20dBFS) and +4dBu (-16dBFS) Witness Marks. Meter
range is –36dBu to +20dBu (-56dBFS to 0dBFS) with audio input type and audio input clipping indication.
Audio monitor output options include a 2-channel headphone output on the camera Brain and 2-channel
line level analog outputs from the optional PRO I/O Module, plus 2-channel and 4-channel 24-bit 48KHz
uncompressed digital audio embedded in the HD-SDI and HDMI outputs.
You can run a professional microphone from the 3.5mm inputs using this RED MICROPHONE ADAPTER
RED EPIC Dragon Sound MICROPHONE LEVEL ANALOG INPUTS
The recording level of Microphone inputs are affected by the sensitivity of the microphone and the Gain
setting of the camera’s pre-amplifier. Available pre-amplifier range is +8dB to +62dB, with a default value
of +32dB. The camera operator should choose a Gain value that aligns the input signal to the 0dBu
reference line drawn through the camera’s peak meter (or +4dBu line if referencing to that level).
This setting provides up to 30dB of input signal headroom above reference 0dBu level before clipping
(26dB for +4dBu reference level) and maximizes the signal to noise ratio of the 24-bit digital recording.
RED EPIC Dragon Sound Fan Noise
Comparison between the new Fan Kit 2.0 and stock original fans
-Fan Kit 2.0 (Top/Bottom)
-Fan Kit 2.0 (Bottom)
-Original Lower Fan Only
-Original Lower Fan + Top Fan
[caption id="attachment_5579" align="aligncenter" width="616"]
This is the change that was made to the RED Epic in early 2013 that gave the Epic a new fan control speed to basically get louder as a take when on.... not the greatest idea for sound recordists, probably just to not distract actors when suddenly 100 hairdryers turn on.[/caption]
LINE LEVEL ANALOG INPUTS
The recording level of Line inputs are affected only by the signal provided by the field production sound
mixer or other external line level source. The sound mixer operator should choose a mixer output level
that aligns a reference tone signal to the 0dBu (0.775 volts RMS / -20dBFS) reference mark drawn
through the camera’s Peak Meter, or if using +4dB as reference level, a mixer output level that aligns a
reference tone signal to the +4dBu (1.23 Volts RMS / -16dBFS) reference mark.
The 0dBu setting provides up to 24dB of input signal headroom above reference level before clipping
(20dB for +4dBu reference level) and the maximum signal to noise ratio for the 24-bit digital recording.
RED EPIC Dragon Sound SMPTE TIMECODE
Edge Code is a SMPTE timecode track that always starts at 1.00.00.00 on the first frame recorded to the
digital media. It is a sequential code that is continuous from frame to frame and also continuous from clip
to clip. Edge Code is equivalent to RUN RECORD commonly found on broadcast cameras.
Time Code is a SMPTE timecode track that synchronizes to the camera’s clock, or if operated in Jam
Sync mode, to an externally supplied SMPTE master timecode signal. It is a sequential code that is
continuous from frame to frame, but is discontinuous from clip to clip.
The timecode counter always updates at the same frame rate as the recording, irrespective of whether the
camera is operating in normal, Vari-Speed, Time-Lapse or Animation recording mode. This ensures that a
valid SMPTE timecode is created without count jumps that would affect clip playback during editing. If
operating in Jam Sync mode referenced to an external timecode source, the clip’s master time reference
point is the first frame of the recorded clip.
Touching the Audio Meter will display the Audio Input menu. Refer to SECONDARY MENUS >
SETTINGS > AUDIO/VIDEO for complete information.