Work flow :

Sound Devices 442 4 Channel Mixer

Sound Devices 744T set to Free Run TOD (Time of Day)

Denecke Time code Slate

Denecke SBT Lockit Sync Box for each camera

Remote Audio RED Fan Tail (This tail allows me to use all of my existing breakaway snake cables)

I do my mix to up to 3 camera from my 442 and record my pre fader isos to my 744T

I jam my slate and my SBT boxes to keep everything in sync. Ideally we slate before every shot like a film shoot as a back up to the SBT boxes. But if I cannot slate before every shot the SBT boxes will keep the camera and audio in sync.

The RED will not hold a jam without a SBT it will drift like crazy.

Time code Settings:

Most Red projects are shot at 23.976 so you want your recorder to be set to 23.976 as well as your Slate and SBT boxes. Sometimes post request 29.97NDF which will also work. But I try to keep it simple and standardize to the same time code as the camera. A quick call to post before a project is always a good idea I tell them my work flow and then we agree on what to do.

Other RED time code options that are sometimes used are 24 & 24p which are bad work flow choices you should ALWAYS double check with Post that this is what they want. If they indeed want to do a 24 or 24P work flow you need to record your audio at 30NDF. IF they request 24 for the audio frame rate get it in writing.

Always communicate with post production and get them to email you what they want so you have proof if something goes wrong later as you were just following orders.

In Part 3 I will talk about mixing to the RED

The Schoeps CMIT 5U Shotgun microphone is a recent product from one of the most respected manufacturers of professional microphones. The emphasis was on matching the already outstanding quality and reliability established by Schoeps throughout its entire line. Schoeps has always felt that if they were going to produce a shotgun microphone that it needed to offer a level of improvement over what was available. This, they have done with superior RF immunity, unusually low coloration of off-axis sounds, low weight of 3 1/8 ounces and the introduction of 3 micro push buttons for filtering. This microphone is a perfect compliment to the CMC 641 or an outstanding start to the legendary Schoeps way of audio.

• Weight: An amazing 3 1/8 ounces!
• 48 Volt phantom powering
• Superior RF immunity
• Unusually low coloration of off-axis sound, for a shotgun
• Pickup pattern is consistent in both the horizontal and vertical planes
• Increased directivity at medium frequencies
• Less sensitive to wind noise than a Schoeps CMC 641
• Schoeps sound quality makes the microphone suitable for music recording as well as dialogue
• Beautiful, blue anodized all-metal housing

The simple answer is no but many editors think it is and will still use it. The RED camera makes pretty pictures but it isn’t a great audio recorder. So in this situation you need to provide the best mix to camera possible and also protect yourself and the project by recording a high quality ISO track recording as well. Part II will cover and discuss best work flow to achieve this

This small but compact slate supports all frame rates and is back lit below is the denecke website information about the slate:

The Denecke TS-C is a compact full featured smart slate, capable of reading, generating and displaying SMPTE/EBU time code. Its new compact size makes the TS-C ideal for documentary work, insert shots, or anywhere a big slate is too cumbersome. The TS-C jams to all standard frame rates, including 23.976 for HD. The TS-C reads and displays off speed time code used in special situations such as music video playback. The time code reader mode works with both ascending and descending time code.  The TS-C is the first Denecke product to support Aaton serial communication! The precision TCXO combined with a 16 BIT microprocessor ensure extremely low drift and high accuracy. The standard EL backlit face plate is helpful in low light situations. The new Denecke TS-C compact slate is affordable priced. Your choice of black and white or color clapper sticks.

Below are the main 4 point please visit the link above for the full article

Here are 4 rules of thumb that determine whether or not 48.048 kHz workflow is possible in your project, and how it must be used. These are:

Rule # 1: That 48.048 kHz workflow only works if picture is being shot at true 24 fps, and picture and sound editorial is being done in NTSC 29.97 or 23.98 HD video.

Rule # 2: That 48.048 kHz workflow only works when the project is finishing and releasing on video (not film).

Rule # 3: That 48.048 files are only useful if they are stamped using –F mode.

Rule # 4: Sound Editorial must agree that it’s a good idea to use 48.048 kHz sound, and the producers and post supervisor must agree with them.

If it is a studio shoot with multiple camera I run my 442 mix with the prefader iso outs to my 744T @ 23,976 with my Smart Slate. I usually also provide them with a back up mix via my 442 into my Fostex Fr2le. I usually have them turn on the camera microphone to hear the slate clap. If requested I can also send a scratch take mix via Comtek or G2 Wireless but since the camera is so small I prefer not to add any weight to it. I have also ditched the smart slate and just used a dummy slate with good results as well.

If it is a more run and gun shoot I do everything the same except I don’t carry around the fostex fr2le as my back up recorder I use the SD Card in my zaxcom unit instead to cut down on weight and size. If we don’t have an AC or someone to take care of the smart slate. I prefer to use a dummy slate to keep it simple.

I have done a number of Canon 5D/7D shoots this way with great results.

Using my Remote Audio ENG Snake to feed audio to the RED Camera and listen via the Headphone Matrix Menu because I am using the audio out jack instead of the poor sounding headphone jack. I can also when hardwired to the RED have it trigger my 744T recorder via record run and jam time code.

This set up works well for my main red client since we do mostly studio shoots.