Master Handbook V7.0 DOCX

FX6 CINE EI Muted-Color Shooting System Handbook V7.0

Camera System: Sony FX6
Primary Shooting Mode: Cine EI
Primary Color Setup: S-Gamut3.Cine / S-Log3
Primary Audio System: RØDE Wireless transmitter/receiver workflow, Cable Techniques split cable, optional boom mic integration
Style Target: Netflix-muted cinematic actor reels, feature scenes, and documentary work

Co-created by Nelson Cyr with ChatGPT Assist May 2026

Note: FX6 Field-Use Navigation Guide

The Handbook Table Of Contents is on pages i – xxvi. A Field-Use Navigational Guide follows the TOC on pages xxvii – xxxix and is in front of the Handbook operational body text which starts on page 2. This Nav Layer does not replace, rewrite, shorten, or reorganize the canonical manual body. Most topics are hot-linked to relevant pages with return links back to Nav Guide or TOC.

TABLE OF CONTENTS (Hover & Ctl+Click For Hot Link To Pages)

FX6 CINE EI Muted-Color Shooting System Handbook V7.0 1

PART I — PROJECT CONTROL, SCOPE, AND OPERATING DOCTRINE 2

Chapter 1. Project Purpose, Scope, and Master-Handbook Standard 2

1.1 Purpose of the Complete Project Master Handbook 2

1.2 Why this is not a condensed field guide 3

1.3 Covered production types: actor reels, features, documentaries 4

1.4 Project-specific equipment baseline 5

1.5 What “Netflix-type muted color” means in this project 5

1.6 What the muted look is not 6

1.7 Core operating rule: expose cleanly, light selectively, monitor accurately, grade carefully 7

1.8 Master control hierarchy 8

1.8.1 Shutter = motion 8

1.8.2 Aperture = depth and lens character 9

1.8.3 ND = exposure control 9

1.8.4 White balance = color consistency 9

1.8.5 EI = exposure-rating/monitoring decision 10

1.8.6 LUT/MLUT = viewing reference 10

1.8.7 Lighting and production design = actual look 10

1.8.8 Audio = production credibility 11

1.8.9 Media/logging = post-production survival 11

Chapter 2. Project-Specific Proven Settings and Non-Negotiable Warnings 12

2.1 Proven one-transmitter audio baseline 12

2.2 Proven two-transmitter split-track baseline 13

2.3 Proven boom-addition concept 13

2.4 Proven Cine EI monitoring logic 14

2.5 Proven file-management logic 15

2.6 Non-negotiable warnings 16

2.6.1 Do not use LINE for RØDE receiver 16

2.6.2 Do not use MIC+48V for RØDE receiver 16

2.6.3 Do not assume S-Gamut3.Cine/S-Log3 automatically sends a LUT to the monitor 17

2.6.4 Do not double-LUT 17

2.6.5 Do not rename camera originals casually 17

2.6.6 Do not split camera-original folders arbitrarily 17

2.6.7 Do not rely on camera filenames alone 18

PART II — FX6 + RØDE AUDIO SYSTEM 18

Chapter 3. One-Transmitter RØDE Wireless GO + FX6 Baseline 18

3.1 Original one-transmitter use case 18

3.2 RØDE receiver mounted on shoe: mounting only, no audio pass-through 19

3.3 Required audio path: RØDE 3.5 mm output to FX6 INPUT1 20

3.4 FX6 INPUT1 physical switch discovery 20

3.4.1 LINE position and why it is wrong 21

3.4.2 Center MIC position and why it fixed the meter problem 21

3.4.3 MIC+48V position and phantom-power warning 21

3.5 Final one-transmitter FX6 routing 22

3.5.1 CH1 Source = INPUT1 MIC 22

3.5.2 CH2 Source = INPUT1 MIC 23

3.6 Reference level: -30 dB 23

3.7 Final RØDE gain: 0 dB / -0 24

3.8 Final FX6 dials: CH1=7, CH2=5 24

3.9 Main track and safety-track logic 24

3.10 Target meter levels 25

3.10.1 Normal speech: -12 to -18 dB 25

3.10.2 Loud speech/shout: around -10 dB 25

3.10.3 0/red as clipping ceiling 25

3.11 Alternate tested setting: RØDE -3 dB / CH1 around 8 25

3.12 When to consider -40 dB camera reference 26

3.13 One-transmitter quick setup table 26

3.14 One-transmitter troubleshooting table 27

Chapter 4. RØDE Gain Testing and Button Operation 27

4.1 Why RØDE receiver output matters 27

4.2 RØDE gain values tested: -30, -12, -3, 0 dB 28

4.3 Meaning of more negative RØDE gain numbers 28

4.4 Correct term: 0 dB, not “-0” 29

4.5 Final gain choice and reason 29

4.6 RØDE button operation 29

4.6.1 Press left button to show gain 29

4.6.2 Briefly press right button to change/cycle gain 29

4.6.3 Avoid holding right button 30

4.7 If RØDE becomes stuck at low output 30

4.8 Gain staging checklist 30

Chapter 5. FX6 Headphone Monitoring and Room-Noise Control 31

5.1 MDR-7506 suitability for FX6 monitoring 31

5.2 MDR-7506 volume-control expectation 31

5.3 FX6 headphone volume versus recorded level 32

5.4 Meter levels versus headphone perception 32

5.5 Breathing noise diagnosis 32

5.6 TV bleed diagnosis 33

5.7 HVAC and room tone diagnosis 33

5.8 Clothing rub diagnosis 34

5.9 Mic placement correction: 6–8 inches below chin 34

5.10 Foam windscreen use 35

5.11 Why not to lower recording level to hide room noise 35

5.12 Room-noise cleanup checklist 35

5.13 Room tone recording procedure 36

Chapter 6. Dual RØDE Transmitter / One Receiver Split-Track System 36

6.1 Why the one-XLR setup is insufficient for separate tracks 36

6.2 Two-person interview objective 37

6.3 RØDE Merged mode versus Split mode 38

6.4 Correct signal path overview 39

6.5 Cable Techniques 3.5 mm TRS stereo male to dual XLR-3M male cable 40

6.5.1 Cable purpose 40

6.5.2 Why this is not a generic splitter 41

6.5.3 Cable durability / “flimsy” concern 41

6.5.4 Shorter-cable consideration 42

6.6 Red XLR to INPUT1 42

6.7 Blue XLR to INPUT2 43

6.8 FX6 physical input settings 43

6.8.1 INPUT1 = MIC 43

6.8.2 INPUT2 = MIC 43

6.8.3 Phantom power off 44

6.9 FX6 menu settings 44

6.9.1 CH1 Input Select = INPUT1 44

6.9.2 CH2 Input Select = INPUT2 44

6.9.3 INPUT1 MIC Reference = -30 dB 45

6.9.4 INPUT2 MIC Reference = -30 dB 45

6.10 Starting dial values 45

6.11 TX1/TX2 channel test procedure 46

Step 1 — Test TX1 alone 46

Step 2 — Test TX2 alone 46

Step 3 — Test both transmitters 47

6.12 What to do if both channels move equally 47

6.13 What to do if one channel is missing or thin 48

6.14 Split-track verification checklist 49

Chapter 7. Permanent Split Setup for One or Two Transmitters 49

7.1 Why a permanent split setup is easier 49

7.2 Permanent split settings table 50

7.3 Two-transmitter operation 51

7.3.1 CH1 = TX1 / Person 1 51

7.3.2 CH2 = TX2 / Person 2 51

7.4 One-transmitter operation while staying in split mode 52

7.4.1 Use TX1 only 52

7.4.2 CH1 records solo mic 52

7.4.3 CH2 likely silent 52

7.5 What is lost: old CH2 safety-track copy 52

7.6 When to switch back to one-transmitter safety mode 53

7.7 Editing solo CH1 as centered mono audio 54

7.8 Field decision table: split mode versus safety-copy mode 54

Chapter 8. RØDE Onboard Transmitter Recording 55

8.1 What onboard transmitter recording means 55

8.2 Camera audio versus transmitter internal audio 56

8.3 Which RØDE models support onboard recording 56

8.4 Backup mode versus Always mode 57

8.5 Why onboard recording replaces the lost FX6 safety track 57

8.6 RØDE safety channel versus onboard recording 58

8.7 Shoot-day onboard recording checklist 58

8.8 Post-shoot file retrieval 59

8.9 Folder and naming approach for transmitter recordings 59

8.10 Backup procedure for onboard recordings 60

Chapter 9. Adding a Boom Mic to the Dual-RØDE Setup 60

9.1 Why both FX6 handle XLR inputs are already occupied 60

9.2 Professional three-track solution overview 61

9.3 Sony XLR-K3M / XLR-K2M adapter concept 61

9.4 Where the adapter plugs in: Multi Interface Shoe 62

9.5 Boom mic into adapter INPUT1 62

9.6 Professional channel layout 63

9.6.1 CH1 = RØDE TX1 63

9.6.2 CH2 = RØDE TX2 63

9.6.3 CH3 = boom mic via Shoe CH1 63

9.6.4 CH4 = Off or Shoe CH2 63

9.7 FX6 CH3/CH4 menu concept 64

9.8 Phantom-power decision tree 64

9.8.1 Phantom-powered shotgun/condenser 64

9.8.2 Battery-powered boom mic 65

9.8.3 Dynamic mic 65

9.8.4 External mixer feed 65

9.9 Warning: never send phantom power to RØDE receiver 65

9.10 Lower-cost alternate: merged lavs plus boom 66

9.10.1 RØDE receiver Merged mode into INPUT1 66

9.10.2 Boom into INPUT2 67

9.10.3 Tradeoff: two lavs baked together 67

9.11 Why not to use a passive Y-cable 67

9.12 Professional three-track versus simpler alternate decision table 68

PART III — CINE EI CAMERA OPERATION AND EXTERNAL CONTROLS 69

Chapter 10. White Balance External Controls 69

10.1 Manual white balance philosophy 69

10.2 Why ATW should usually be avoided 69

10.3 External WB switch positions 70

10.3.1 A memory 71

10.3.2 B memory 71

10.3.3 Preset 71

10.4 Gray card / white card procedure 72

10.5 WB SET button procedure 73

10.6 Indoor custom WB setup 73

10.7 Outdoor custom WB setup 74

10.8 Warm/cool intentional offsets 74

10.9 Why white balance should not be the muted-look tool 75

10.10 Filter White Memory considerations 75

10.11 White balance checklist before recording 76

Chapter 11. ND External Controls 76

11.1 ND as exposure stabilizer 77

11.2 Correct exposure-control order 78

11.3 ND PRESET / VARIABLE switch 79

11.4 ND FILTER POSITION buttons 79

11.5 ND VARIABLE dial 80

11.6 ND VARIABLE AUTO button 80

11.7 Indoor ND workflow 81

11.7.1 Start with ND Clear 81

11.7.2 Use ND indoors only if too bright 82

11.8 Outdoor ND workflow 83

11.8.1 Variable ND On 83

11.8.2 Hold aperture with ND 83

11.9 Auto ND use cases 84

11.10 Why not to switch Clear/On while rolling 85

11.11 ND and white balance interaction 85

11.12 Indoor/outdoor ND examples 86

Interior actor reel close-up 86

Interior bright window interview 86

Exterior actor close-up 86

Exterior two-person dialogue 86

Documentary walk-and-talk 87

Chapter 12. Shutter and Aperture External Controls 87

12.1 Shutter controls motion 87

12.2 Aperture controls depth of field 88

12.3 Normal cinematic shutter values 88

12.3.1 24p = 1/48 or 180° 88

12.3.2 30p = 1/60 or 180° 89

12.3.3 60p = 1/120 or 180° 89

12.4 When to change shutter 89

12.5 When not to change shutter 89

12.6 Aperture selection by scene type 90

12.7 Indoor aperture recommendations 91

12.8 Outdoor aperture recommendations 91

12.9 Two-person aperture recommendations 92

12.10 Manual iris versus auto iris 92

12.11 Why ND should handle brightness after aperture is chosen 93

12.12 Indoor setup examples 93

Interior actor close-up 93

Interior two-person dialogue 94

Interior documentary interview 94

12.13 Outdoor setup examples 95

Exterior actor close-up 95

Exterior two-person dialogue 95

Exterior chase/action 95

Chapter 13. Focus External Controls 96

13.1 Focus as subject-attention control 96

13.2 Manual focus 96

13.3 Face/Eye AF 97

13.4 Push Auto Focus 97

13.5 Focus Magnifier 98

13.6 Peaking 99

13.7 Lens focus ring 99

13.8 Focus Hold button 100

13.9 Indoor focus procedure 100

13.10 Two-person focus strategy 101

13.11 Outdoor focus procedure 101

13.12 Focus in bright sun 102

13.13 When to use autofocus 102

13.14 When to avoid autofocus 102

13.15 Rack focus procedure 103

13.16 Near-eye rule 103

13.17 Focus checklist 104

Chapter 14. Zoom Controls, Push-Ins, Pull-Outs, and Emotional Close-Ups 104

14.1 Zoom as framing control, not exposure control 104

14.2 Lens zoom ring 105

14.3 FX6 handle/grip zoom rocker 105

14.4 Sony power zoom lenses 106

14.5 Manual zoom lenses 106

14.6 Prime lenses and Clear Image Zoom 106

14.7 Clear Image Zoom limits 107

14.8 Zoom versus push-in 107

14.9 Why “never zoom while recording” is not absolute 107

14.10 When zooming while recording is acceptable 108

14.11 Emotional push-in 108

14.12 Emotional pull-out 109

14.13 Slow zoom-in for psychological pressure 110

14.14 Slow zoom-out for isolation/reveal 110

14.15 Indoor zoom guidance 110

14.16 Outdoor zoom guidance 111

14.17 Zoom-focus recheck rule 111

14.18 Variable-aperture zoom warning 112

14.19 Coverage versus zooming mid-take 112

Chapter 15. Cine EI Exposure Monitoring 113

15.1 Why LCD appearance is not enough 113

15.2 Monitoring LUT versus exposure truth 114

15.3 Waveform as primary exposure truth 114

15.4 Zebras as fast warnings 115

15.5 Histogram as secondary tool 116

15.6 S-Log3 exposure references 116

15.6.1 18% gray around 41 IRE 116

15.6.2 90% white around 61 IRE 116

15.7 Skin-tone exposure guidance 117

15.8 Highlight protection 117

15.9 Indoor exposure procedure 118

15.10 Outdoor exposure procedure 119

15.11 Why not to underexpose for mood 119

15.12 Test-clip exposure review 120

Chapter 16. Cine EI, Base ISO, and EI Workflow 121

16.1 Cine EI versus normal ISO operation 121

16.2 Base ISO 800 122

16.3 Base ISO 12800 123

16.4 EI as exposure-rating / monitoring decision 123

16.5 Lower EI effect 124

16.6 Higher EI effect 125

16.7 Indoor Base ISO choices 125

16.8 Outdoor Base ISO choices 126

16.9 Low-light Cine EI choices 127

16.10 Cine EI Quick versus Cine EI concept 128

16.11 Practical EI field rules 128

Chapter 17. Recording Format, Codec, Frame Rate, and Audio Channel Planning 129

17.1 Recommended cinematic defaults 129

17.2 4K UHD / QFHD 130

17.3 XAVC-I versus XAVC-L 130

17.4 23.98p / 24p actor reel and feature workflow 131

17.5 Documentary interview options 132

17.6 Slow motion / S&Q considerations 132

17.7 10-bit 4:2:2 logic 133

17.8 Audio channel verification 133

17.9 Matching recording format to post workflow 134

17.10 Avoiding mixed frame rates without plan 135

Chapter 18. Assignable Buttons and User Menu Field Map 135

18.1 Why field controls should be fast 136

18.2 Assignable button priorities 136

18.2.1 Focus Magnifier 136

18.2.2 Waveform / Video Signal Monitor 137

18.2.3 Zebras 137

18.2.4 LUT On/Off 138

18.2.5 Face/Eye AF 138

18.2.6 Push AF 138

18.2.7 Audio Status 139

18.2.8 Rec Review 139

18.3 User Menu Page 1: Exposure 139

18.4 User Menu Page 2: Look / LUT 140

18.5 User Menu Page 3: Focus 141

18.6 User Menu Page 4: Audio 141

18.7 User Menu Page 5: Recording / Media 142

18.8 Button-map operating rule 142

PART IV — LUT, MONITORING, SETTINGS FILES, AND FX6 SETTINGS CARD 143

Chapter 19. LUT / MLUT Monitoring Setup 143

19.1 S-Gamut3.Cine/S-Log3 does not automatically mean monitor LUT 143

19.2 Three separate items 144

19.2.1 Camera color/gamma 144

19.2.2 SDI/HDMI MLUT 144

19.2.3 Internal Rec MLUT 145

19.3 Recommended settings 145

19.3.1 VF/Proxy/Stream MLUT On 145

19.3.2 SDI/HDMI MLUT On 145

19.3.3 Internal Rec MLUT Off 146

19.4 External monitor LUT behavior 146

19.5 Why monitor does not need its own LUT if FX6 sends MLUT 147

19.6 Double-LUT warning 147

19.7 Internal recording safety 148

19.8 s709 monitoring look 148

19.9 709(800%) reference look 149

19.10 Custom Nelson Muted Preview LUT concept 149

Chapter 20. Elvid RigVision Monitor and External Monitoring 149

20.1 Elvid RigVision LUT-import limitation 150

20.2 Why FX6-applied MLUT solves the issue 150

20.3 Monitor LUT off when FX6 SDI/HDMI MLUT is on 151

20.4 External monitor as view-only device versus recorder warning 151

20.5 Practical monitoring setup table 152

Chapter 21. LUT Acquisition and FX6 Settings Card 153

21.1 Why to preload only a small LUT set 153

21.2 Recommended LUTs 154

21.2.1 s709 154

21.2.2 709(800%) 155

21.2.3 Sony official S-Gamut3.Cine/S-Log3 LUTs 155

21.2.4 Optional creative Sony looks 156

21.2.5 Custom Nelson Muted Preview LUT 156

21.3 Avoiding random LUT packs 157

21.4 Correct card folder paths 158

21.4.1 SD card LUT path 158

21.4.2 CFexpress Type A LUT path 159

21.5 Importing LUTs into FX6 159

21.6 Selecting the imported Base Look 159

21.7 Input/output LUT setting warning 160

21.8 Why to keep LUT files backed up separately 160

Chapter 22. ALL Files, User Files, Scene Files, and Dedicated Settings Card 161

22.1 What ALL File saves 161

22.2 What ALL File does not save 162

22.3 Menu 0–10 settings and ALL File capture 163

22.4 Level 1–Level 4 camera values versus written documentation 164

22.5 Slot B / Media(B) workflow 164

22.6 ALL File save/load procedure 165

Save procedure 165

Load procedure 165

22.7 User File backup 166

22.8 Scene File backup 167

22.9 LUT file backup 167

22.10 Physical switch limitations 168

22.11 RØDE settings not saved by FX6 168

22.12 External monitor settings not saved by FX6 169

22.13 Boom adapter switch settings not saved by FX6 169

22.14 Dedicated FX6 Settings Card 170

22.15 Why not to rely on production recording cards 170

22.16 Recommended card label: FX6 SETTINGS — DO NOT FORMAT 171

22.17 Computer/NAS/USB duplicate backup 171

22.18 Settings-card checklist 172

PART V — MUTED-COLOR SHOOTING METHOD, LIGHTING, LENSES, MOVEMENT, AND DESIGN 173

Chapter 23. Pro Tips for Netflix-Type Muted Color 173

23.1 Do not underexpose for mood 173

23.2 Use Cine EI like a negative workflow 174

23.3 Record clean log, monitor with LUT 174

23.4 Use s709 as safe monitor look 175

23.5 Lock white balance 175

23.6 Let ND protect aperture 175

23.7 Keep shutter boring and correct 176

23.8 Pick aperture for emotion and focus reliability 176

23.9 Use waveform and zebras 176

23.10 Protect skin tones 177

23.11 Control wardrobe and set color 177

23.12 Use negative fill 178

23.13 Do not overlight the room 179

23.14 Use practical lights carefully 179

23.15 Control windows 180

23.16 Focus on the near eye 180

23.17 Use deeper focus for two-person scenes 180

23.18 Shoot coverage 181

23.19 Do not casually zoom while recording 181

23.20 Push-ins beat zoom-ins 182

23.21 Actor reel priority: performance clarity 182

23.22 Feature priority: visual grammar 182

23.23 Documentary priority: reality first 183

23.24 Audio is half the image 183

23.25 Use the boom as safety and tone tool 184

23.26 Record room tone 184

23.27 Build a pre-roll ritual 184

23.28 Protect continuity 185

23.29 Keep a dedicated FX6 Settings Card 185

23.30 Keep only a few LUTs on the camera 186

23.31 Shoot a 10-second technical test 186

23.32 Do not over-grade 186

23.33 Actor reel grading versus feature grading 187

23.34 Background must support the face 187

23.35 Use longer lenses to simplify chaos 188

23.36 Outside, choose shade before fighting sun 188

23.37 Inside, control mixed color temperatures 188

23.38 Shoot gray card and color reference 189

23.39 File discipline 189

23.40 Final master rule 189

Chapter 24. Lighting Layouts for Actor Reels 190

24.1 Universal muted-color lighting rules 190

24.2 One-person dramatic close-up interior 191

24.2.1 Goal 191

24.2.2 Layout 191

24.2.3 Setup 192

24.2.4 FX6 starting point 193

24.2.5 Pro tip 193

24.3 Two-person dialogue scene interior 193

24.3.1 Goal 193

24.3.2 Layout 194

24.3.3 Setup 194

24.3.4 Coverage pattern 195

24.3.5 Pro tip 195

24.4 Moody practical-light interior 196

24.4.1 Goal 196

24.4.2 Layout 196

24.4.3 Setup 196

24.4.4 Pro tip 197

24.5 Exterior emotional close-up 197

24.5.1 Best exterior layout 197

24.5.2 Setup 198

24.5.3 Pro tip 199

24.6 Actor reel lighting priorities 199

24.6.1 Face readability 199

24.6.2 Eye detail 199

24.6.3 Controlled background 199

24.6.4 Performance over style 200

Chapter 25. Lighting Layouts for Feature Scenes 200

25.1 Interior naturalistic dialogue scene 200

25.1.1 Goal 200

25.1.2 Layout 201

25.1.3 Setup 201

25.1.4 Pro tip 202

25.2 Dark dramatic close-up 202

25.2.1 Goal 202

25.2.2 Layout 202

25.2.3 Setup 203

25.2.4 Pro tip 203

25.3 Window-motivated daylight interior 204

25.3.1 Layout 204

25.3.2 Setup 204

25.3.3 Pro tip 205

25.4 Night interior with practicals 205

25.4.1 Layout 205

25.4.2 Setup 205

25.4.3 Pro tip 206

25.5 Exterior day dialogue 206

25.5.1 Sun strategy 206

25.5.2 Layout 206

25.5.3 Procedure 207

25.5.4 Pro tip 207

25.6 Repeatable visual grammar 207

25.7 Motivated light direction 208

25.8 Matching coverage between angles 208

25.9 Consistent contrast and palette 209

Chapter 26. Lighting Layouts for Documentaries 210

26.1 Sit-down interview interior 210

26.1.1 Goal 210

26.1.2 Layout 211

26.1.3 Setup 212

26.1.4 Pro tip 213

26.2 Sit-down interview with window light 214

26.2.1 Layout 214

26.2.2 Setup 214

26.2.3 Pro tip 215

26.3 Run-and-gun interior / available light 216

26.3.1 Goal 216

26.3.2 Procedure 216

26.3.3 Quick layout 217

26.3.4 Pro tip 218

26.4 Exterior interview 218

26.4.1 Layout 218

26.4.2 Setup 219

26.4.3 Pro tip 219

26.5 Walk-and-talk exterior 220

26.5.1 Goal 220

26.5.2 Layout 220

26.5.3 Procedure 221

26.5.4 Pro tip 221

26.6 Quick one-light field interview 222

26.6.1 Layout 222

26.6.2 Gear 222

26.6.3 Procedure 223

26.6.4 Pro tip 223

26.7 Documentary lighting priorities 224

26.7.1 Truthfulness 224

26.7.2 Clean faces 224

26.7.3 Fast setup 224

26.7.4 Audio protection 224

26.7.5 Background control 225

Chapter 27. Lens, Movement, and Emotional Coverage 225

27.1 Lens-choice guide 225

27.2 Prime versus zoom 226

27.3 Interior focal-length choices 227

27.4 Exterior focal-length choices 227

27.5 Emotional close-up hierarchy 228

27.6 Push-in for emotional intensity 229

27.7 Pull-back for isolation 230

27.8 Longer lens for compression 230

27.9 Walk-and-talk support 231

27.10 Tripod, slider, dolly, gimbal, handheld considerations 232

Tripod 232

Slider 232

Dolly 232

Gimbal 233

Handheld 233

27.11 Focus during movement 233

27.12 Rehearsing movement 234

27.13 Coverage map for actor reels and features 235

Chapter 28. Production Design and Muted Color Control 236

28.1 Why wardrobe and set color matter 236

28.2 Preferred muted palette 236

28.3 Colors to avoid unless intentional 237

28.4 Controlling props and clutter 237

28.5 Practical lights as color sources 238

28.6 Background separation 239

28.7 Skin tone must remain natural 239

28.8 Muting the environment, not the person 240

28.9 Actor reel visual restraint 241

28.10 Feature color consistency 241

28.11 Documentary credibility 242

PART VI — PRE-SHOOT, ON-SET, AND SHOOT-DAY WORKFLOW 242

Chapter 29. Pre-Shoot Checklist and On-Set Test Procedure 243

29.1 Night-before setup checklist 243

29.2 Camera mode checklist 244

29.3 Recording format checklist 245

29.4 LUT checklist 245

29.5 White balance checklist 246

29.6 ND checklist 246

29.7 Focus checklist 247

29.8 Audio checklist 247

29.9 Physical switch checklist 248

29.10 RØDE split cable checklist 249

29.11 Boom adapter checklist 249

29.12 10-second technical test 250

29.13 Playback review checklist 250

29.14 During-shoot continuity check 251

29.15 After-shoot backup checklist 251

Chapter 30. Master Shoot-Day Workflow 252

30.1 Load or confirm ALL File 252

30.2 Confirm physical switches 252

30.3 Confirm RØDE receiver mode 253

30.4 Confirm Cable Techniques routing 253

30.5 Confirm boom adapter if used 254

30.6 Set frame rate and recording format 254

30.7 Set Cine EI / Base ISO / EI 255

30.8 Set white balance 255

30.9 Set shutter 255

30.10 Set aperture 256

30.11 Set ND 256

30.12 Set LUT monitoring 257

30.13 Set waveform/zebras 257

30.14 Confirm focus 257

30.15 Confirm audio 258

30.16 Slate clip 258

30.17 Record test 259

30.18 Review 259

30.19 Record take 260

30.20 Log clip 260

30.21 Backup media 260

PART VII — FILE MANAGEMENT, SLATES, LOGGING, OFFLOAD, RESOLVE/PREMIERE, PROXIES, AND STORAGE 261

Chapter 31. FX6 File-Management Doctrine 261

31.1 Why camera filenames alone are unsafe 261

31.2 Why same-name clips happen across cards 262

31.3 Why camera originals should not be casually renamed 263

31.4 Folder identity versus clip identity 264

31.5 Project codes, reel IDs, physical card IDs, and unique clip IDs 265

31.5.1 Project code 265

31.5.2 Reel ID 266

31.5.3 Physical card ID 267

31.5.4 Unique Clip ID 267

31.6 Short-name discipline to avoid Windows/path-length problems 268

31.7 Never dump different cards into one flat folder 268

31.8 File-management master rule 269

Chapter 32. Production Card and Reel Naming System 270

32.1 Physical card labels: CFE-01, CFE-02 270

32.2 Reel IDs: A001, A002, A003 270

32.3 Reused physical card gets a new reel ID 271

32.4 Folder format: YYYYMMDD_PROJECT_FX6_A001 271

32.5 Examples for actor reel projects 272

32.6 Examples for feature projects 273

32.7 Examples for documentary projects 274

32.8 Production card versus settings card distinction 275

Chapter 33. Clip Name Footage Description Log System 275

33.1 Purpose of the log 275

33.2 Full Excel log columns 276

33.3 Unique Clip ID formula 277

33.4 Scene code system 278

33.5 Shot-size and angle fields 279

33.6 Audio-routing fields 280

33.7 Look/LUT and format fields 280

33.8 Quality/select fields 281

33.9 Backup/import/proxy status fields 282

33.10 Example row: indoor action scene 283

33.11 Example row: outdoor dialogue scene 284

33.12 Example row: outdoor chase scene 285

33.13 How to use the Word/DOCX log version 285

33.14 How to use the paper log version 286

Chapter 34. Minimal Field Logging Workflow 287

34.1 Why not to fill the full spreadsheet on set 287

34.2 Five-field field log method 288

34.3 Before-recording notes 288

34.4 During-recording slate 289

34.5 After-recording quick note 289

34.6 After-offload spreadsheet completion 290

34.7 Practical paper log example 291

34.8 Field log rhythm: slate it, shoot it, write one short line, move on 291

Chapter 35. Verbal, Paper, Phone, Electronic, and Smart Slate Workflow 292

35.1 Why slating helps 292

35.2 Verbal slate method 293

35.3 Paper slate method 294

35.4 Phone/tablet slate app method 295

35.5 Basic electronic slate 295

35.6 Professional timecode smart slate 296

35.7 What smart slates help with 296

35.8 What smart slates do not solve 297

35.9 Timecode synchronization versus file naming 298

35.10 Why Reel ID + Clip ID remains required 298

35.11 When a real timecode slate becomes justified 299

35.12 Recommended slate workflow for current FX6 use 299

Chapter 36. FX6 Full-Card Offload Integrity 300

36.1 Why full card structure matters 300

36.2 Why non-footage files matter 301

36.3 Why not to drag only MXF files into one folder 302

36.4 Full-card copy procedure 303

36.4.1 Prepare the destination folder 303

36.4.2 Confirm physical card and reel ID 304

36.4.3 Copy the full card contents 304

36.4.4 Do not change the original structure 305

36.4.5 Record the copy in the log 305

36.5 Verify before formatting 305

36.6 Two-backup rule 306

36.7 Folder structure for camera originals 307

36.8 RØDE onboard recording backup location 308

36.9 Offload checklist 309

36.9.1 Before copying 309

36.9.2 During copying 309

36.9.3 After copying 309

36.9.4 Before formatting card 310

Chapter 37. Large Card / 400GB Footage Management 310

37.1 Why not to split camera-original folders into arbitrary 100GB chunks 310

37.2 Safer method: split archive volumes 311

37.3 Safer method: future smaller reel offloads 312

37.4 Safer method: proxies/transcodes 313

37.5 If splitting is unavoidable 314

37.6 Preserve the full-card master untouched 315

37.7 80–160GB reel/offload target 315

Chapter 38. Resolve and Premiere Import and Audio-Channel Workflow 316

38.1 Import full reel folders 316

38.2 Do not flatten media from multiple cards 317

38.3 Resolve bin structure 318

38.4 Premiere bin structure 319

38.5 Left/right audio inspection 320

38.6 Why muting a whole event does not prove channel separation 321

38.7 Two-transmitter split audio in post 321

38.8 Boom/lav channel organization 322

38.9 Solo CH1 mono centering 323

38.10 Post-import checklist 323

38.10.1 Media organization 324

38.10.2 Audio 324

38.10.3 Picture 324

38.10.4 Proxies 324

Chapter 39. Proxy, Storage, and Archive Planning 325

39.1 Shoot high-quality originals, edit with proxies if needed 325

39.2 XAVC-I 4K file-size planning 326

39.3 XAVC-L 4K file-size planning 326

39.4 80–160GB reel/offload target 327

39.5 1080p DNxHR LB proxies 328

39.6 1080p DNxHR SQ proxies 328

39.7 720p proxy use cases 329

39.8 Resolve proxy workflow 329

39.9 Premiere proxy workflow 330

39.10 Storage planning per 1TB originals 331

39.11 Project folder structure 332

39.12 Backup/archive rules 332

39.12.1 Originals 333

39.12.2 Audio originals 333

39.12.3 Project files 333

39.12.4 Proxies 333

39.12.5 Exports 333

39.12.6 Archive 333

Chapter 40. Created Deliverables and Templates 334

40.1 Excel/XLSX Clip Name Footage Description Log 334

40.2 Word/DOCX Clip Name Footage Description Log 335

40.3 Clip Log sheet 336

40.4 Project Setup sheet 337

40.5 Code Lists sheet 337

40.5.1 Scene codes 337

40.5.2 Shot type codes 338

40.5.3 Audio routing codes 338

40.5.4 Status codes 338

40.6 Paper Log sheet 339

40.7 How to use these templates in the field 339

40.7.1 Before the shoot 340

40.7.2 During the shoot 340

40.7.3 After the shoot 340

40.8 How to use these templates in post 341

40.8.1 Resolve/Premiere import 341

40.8.2 Audio inspection 341

40.8.3 Selects 341

40.8.4 Proxy tracking 342

40.8.5 Backup tracking 342

40.8.6 Final project archive 342

PART VIII — APPENDICES AND QUICK REFERENCES 343

Appendix A. One-Transmitter RØDE Quick Reference 343

A.1 Final settings table 343

A.2 Safety-track workflow 344

A.3 Target meter levels 344

A.4 Troubleshooting checklist 345

Appendix B. Two-Transmitter RØDE Split Quick Reference 346

B.1 Receiver Split mode 346

B.2 Cable Techniques routing 346

B.3 Blue XLR / Red XLR table 347

B.4 CH1/CH2 setup 347

B.5 TX1/TX2 test 348

TX1 test 348

TX2 test 348

Both test 348

Appendix C. Boom Mic Quick Reference 349

C.1 Three-track layout 349

C.2 XLR-K3M/K2M mounting 350

C.3 CH3/Shoe CH1 routing 350

C.4 Phantom-power decision table 351

C.5 Pro versus lower-cost setup comparison 351

Appendix D. Cine EI Indoor Quick Reference 352

D.1 Base ISO 352

D.2 Shutter 352

D.3 Aperture 353

D.4 ND 353

D.5 WB 354

D.6 LUT 354

D.7 Focus 355

D.8 Audio 355

Appendix E. Cine EI Outdoor Quick Reference 356

E.1 Base ISO 356

E.2 Shutter 356

E.3 Aperture 357

E.4 Variable ND 357

E.5 WB 358

E.6 Exposure tools 358

E.7 Focus 359

E.8 Audio/wind 359

Appendix F. Actor Reel Lighting Quick Reference 360

F.1 Face 360

F.2 Eyes 361

F.3 Background 361

F.4 Performance priority 362

Appendix G. Feature Scene Lighting Quick Reference 363

G.1 Motivated source 363

G.2 Continuity 363

G.3 Contrast 364

G.4 Palette 365

Appendix H. Documentary Interview Quick Reference 365

H.1 Face 365

H.2 Audio 366

H.3 Background 367

H.4 Setup speed 367

Appendix I. File Naming Quick Reference 368

I.1 Reel folder format 368

I.2 Unique Clip ID 368

I.3 Physical card ID 369

I.4 Settings card label 369

I.5 Do-not-do examples 370

Appendix J. Offload and Backup Quick Reference 371

J.1 Copy full card 371

J.2 Verify 371

J.3 Second backup 372

J.4 Log 373

J.5 Format only after confirmation 373

Appendix K. Resolve/Premiere Proxy Quick Reference 374

K.1 Import rule 374

K.2 Proxy rule 374

K.3 Grade/export rule 375

K.4 Audio-channel inspection rule 375

NOTE: For All FX6 Audio Setup and Operations, Refer to FX6 AUDIO FIELD SETUP GUIDE Ver. 1.0 instead. Audio information in this Handbook is for detailed background reference and learning. The Audio Guide is specially abbreviated for Field Setup and Operational Use and is specific to the TriGenFilms.com Sony FX6 Camera and Audio Equipment already setup.

FX6 Field-Use Navigation Guide

NOTICE: (All page links in Nav guide will take you “very close” to page requested)

Purpose

This section adds a Field-Use Navigation Guide in front of the Handbook Operational body text. It does not replace, rewrite, shorten, or reorganize the canonical manual body.

Source Status

• Canonical Master TOC remains the controlling TOC source.

• Canonical Master Operational Manual / Master Handbook v1.0 remains the controlling full-body source.

• This v4 page-corrected linked-return-nav document is a derivative navigation overlay only.

• Operational overlay page references below have been corrected to the actual rendered target start pages in this v4 derivative.

• Internal links are bookmark-based and are placed only in the front navigation overlay.

• No visible Return to Field Navigator links were inserted into the manual body text; return navigation is provided through the body-section footer, preserving body pagination.

Navigation Use Note

Use Ctrl+click to follow links in Word. To return to this Field Navigator after following a link, use Alt + Left Arrow in Word, or the Back button in PDF readers that support link history.

NAVIGATION HUB

START HERE - ONE-PAGE FIELD MAP

Choose the problem or task first. Then follow the linked page references into the preserved master manual body.

Field rule: Do not skip the 10-second technical test and playback review before serious recording. See 29.12 p. 252 / 29.13 p. 253 and 30.17 p. 261 / 30.18 p. 262.

THE FIRST 60 SECONDS ON SET

Use this sequence before the first real take. It compresses the shoot-day workflow without replacing the full procedure.

• Load or confirm ALL File - p. 254

• Confirm physical switches - p. 255

• Confirm RODE receiver mode - p. 255

• Confirm Cable Techniques routing if using split mode - p. 256

• Confirm boom adapter if used - p. 256

• Set frame rate and recording format - p. 257

• Set Cine EI / Base ISO / EI - p. 257

• Set white balance - p. 257

• Set shutter - p. 258

• Set aperture - p. 258

• Set ND - p. 259

• Set LUT monitoring - p. 259

• Set waveform/zebras - p. 259

• Confirm focus - p. 260

• Confirm audio - p. 260

• Slate clip - p. 261

• Record test - p. 261

• Review - p. 262

• Record take - p. 262

• Log clip - p. 263

• Backup media - p. 263

Stop condition: If audio, focus, LUT, waveform/zebras, or media identity is not verified, do not proceed as if the setup is safe.

IF THIS HAPPENS - TROUBLESHOOTING INDEX

SCENARIO-BASED SHOOTING RECIPES

Recipe 1 - One-person actor reel, indoor, one RODE lav

• Audio: Proven one-transmitter baseline - p. 12 | Full setup - p. 18 | Appendix A - p. 346

• Noise check: Headphone monitoring - p. 31 | Mic placement - p. 34 | Room tone - p. 36

• Camera: White balance - p. 69 | Indoor ND workflow - p. 82 | Shutter/aperture - p. 88 | Focus - p. 97 | Exposure monitoring - p. 114 | Cine EI/Base ISO/EI - p. 122

• Look: Muted-color priorities - p. 175 | Actor-reel lighting - p. 192 | Appendix F - p. 364

• Workflow: Pre-shoot checklist - p. 245 | Shoot-day workflow - p. 254

• Post safety: File naming doctrine - p. 264 | Clip log system - p. 278 | Full-card offload - p. 303

Recipe 2 - Two-person interview, two RODE transmitters

• Split setup: Receiver Split mode - p. 39 | Cable Techniques routing - p. 40 | Red XLR to INPUT1 - p. 43 | Blue XLR to INPUT2 - p. 43

Permanent split: Permanent split setup - p. 50

• Verification: TX1/TX2 channel test - p. 46 | Split-track verification checklist - p. 49 | Appendix B - p. 349

• Documentary lighting: Documentary lighting layouts - p. 212 | Appendix H - p. 369

• Post: Left/right audio inspection - p. 323 | Two-transmitter split audio in post - p. 325

Recipe 3 - Two lavs plus boom mic

• Input limit: Both FX6 handle XLR inputs occupied - p. 61

• Boom adapter: Sony XLR-K3M / XLR-K2M concept - p. 62 | CH3 = boom via Shoe CH1 - p. 64

• Power: Phantom-power decision tree - p. 65 | Never send phantom power to RODE receiver - p. 66

• Comparison: Merged lavs plus boom alternate - p. 66 | Three-track versus simpler alternate table - p. 68 | Appendix C - p. 353

Recipe 4 - Exterior muted-cinematic dialogue

• Audio path: One lav - p. 18 | Two-lav split - p. 37 | Lav + boom - p. 61

• ND: Outdoor ND workflow - p. 83 | Hold aperture with ND - p. 84

• Shutter/aperture: Shutter and aperture controls - p. 88 | Two-person aperture recommendations - p. 93

• Exposure: Exposure tools - p. 114 | Skin-tone exposure guidance - p. 118 | Highlight protection - p. 118

• Base ISO/EI: Outdoor Base ISO choices - p. 127 | Practical EI field rules - p. 129 | Appendix E - p. 359

• Look: Exterior emotional close-up - p. 199 | Exterior day dialogue - p. 208

Recipe 5 - Documentary sit-down or run-and-gun

• Objective: Covered production types - p. 4

• Audio protection: Room-noise control - p. 31 | Audio protection - p. 227

• Lighting: Documentary lighting layouts - p. 212 | Appendix H - p. 369

• Fast setup: Pre-shoot checklist - p. 245 | Shoot-day workflow - p. 254

• Field discipline: Logging - p. 278 | Slating - p. 295 | Offload - p. 303

Recipe 6 - Offload, import, proxy, and archive

• File management: File-management doctrine - p. 264

• Reel naming: Production card and reel naming - p. 272

• Logging: Clip log system - p. 278 | Minimal field logging - p. 290

• Offload: Full-card offload integrity - p. 303 | Appendix J - p. 374

• Post: Resolve/Premiere import - p. 319 | Appendix K - p. 378

• Storage: Proxy/storage/archive planning - p. 328

AUDIO SETUP PATHS

CINE EI CAMERA SETUP PATHS

LUT, MONITOR, AND SETTINGS-CARD PATHS

MUTED-COLOR CINEMATIC LOOK PATHS

PRE-SHOOT, SHOOT-DAY, AND POST PATHS

QUICK REFERENCE APPENDIX MAP

Use the appendices as the on-set quick reference layer after the full procedure has already been understood from the body chapters.

WORKING COPY v4 PAGE-CORRECTED LINKED-RETURN-NAV INTEGRITY LEDGER

End of FX6 Field-Use Navigational Guide. The Handbook operational body text begins in the following section with Part I - Project Control, Scope, and Operating Doctrine.

PART I — PROJECT CONTROL, SCOPE, AND OPERATING DOCTRINE

Chapter 1. Project Purpose, Scope, and Master-Handbook Standard

1.1 Purpose of the Complete Project Master Handbook

This Complete Project Master Handbook preserves the full Sony FX6 production system developed for Cine EI shooting using RØDE Wireless audio, muted cinematic color, disciplined exposure practices, external control workflows, monitoring/LUT management, lighting strategy, file naming, slating, clip logging, offload integrity, and Resolve/Premiere post-production workflow.

The purpose is not merely to create a short camera settings sheet. The purpose is to preserve the complete operating system for the camera and related production workflow so the same proven configuration can be recreated, checked, tested, used, and handed off without losing critical details.

This handbook is designed to answer not only what setting to use, but also:

• why the setting exists,

• what problem it solved,

• what mistake it prevents,

• what physical switch must match the menu setting,

• what must be checked with headphones or meters,

• what is saved by FX6 files and what is not,

• what must be logged in the field,

• and what must be preserved for post-production.

The project began with practical FX6 audio setup questions and grew into a larger Cine EI production workflow. The complete scope now includes audio, camera controls, monitoring, lighting, file management, slate/logging procedure, card offload, and editing workflow. All of those areas are part of the working system and must remain together.

This handbook is therefore a complete master reference for the user’s FX6 operating approach, not a general article about the FX6 and not a generic filmmaking guide.

1.2 Why this is not a condensed field guide

A field guide is intentionally short. It gives quick reminders. This complete project master handbook preserves the full operating logic. Separate selected topical FX6 Field Guides have been extracted from this source handbook for operational field use.

A condensed field guide might say:

Set RØDE to 0 dB, INPUT1 to MIC, CH1 dial 7, CH2 dial 5.

That is useful in the field, but it is incomplete because it does not preserve:

• the discovery that INPUT1 has a center MIC position,

• the reason LINE was wrong,

• the reason MIC+48V must not be used with the RØDE receiver,

• the difference between RØDE gain and FX6 channel dial,

• the fact that headphone volume does not change recording level,

• the safety-track logic for CH1/CH2,

• and the later conflict between the one-transmitter safety-track workflow and the two-transmitter split-track workflow.

This handbook must preserve those distinctions because they prevent real production failures.

A condensed field guide might also say:

Use A001_C0001 as a unique clip ID.

That is useful, but incomplete unless the handbook also preserves:

• why camera filenames repeat,

• why camera originals should not be renamed casually,

• why physical card IDs are not the same as reel IDs,

• why long filenames are dangerous,

• why full card structure should be copied,

• why arbitrary 100GB splits are risky,

• and how a verbal slate, paper field log, Excel log, and Resolve/Premiere bin structure work together.

Therefore, this handbook treats the FX6 workflow as a linked production system. Audio settings, camera settings, LUT settings, card settings, and post-production media organization are not isolated topics. They affect one another.

1.3 Covered production types: actor reels, features, documentaries

This handbook supports three primary production use cases: actor reels, feature-style scenes, and documentaries.

For actor reels, the camera system should never overpower the performer. The muted-color style should make the actor look cinematic but still emotionally readable. Skin should remain alive, eyes sharp, dialogue clean, and framing supportive.

For feature scenes, the system must support repeatability. Matching coverage matters. If one angle is soft, another is flat, a third is over-LUT’d, and audio changes between takes, the scene will not cut professionally.

For documentaries, reliability matters. A documentary interview can survive a less stylized image more easily than it can survive distorted audio, unusable focus, bad file management, or missing clips.

The same foundation applies to all three:

• Cine EI discipline,

• manual white balance,

• controlled monitoring,

• exposure tools,

• clean audio,

• careful file management,

• and verified offload.

The difference is emphasis.

1.4 Project-specific equipment baseline

This handbook is built around the equipment and workflow actually discussed and developed in the project.

The handbook avoids treating unverified gear as if it were already installed. For example, the boom mic workflow is preserved as a professional integration concept using the Sony shoe-mounted XLR adapter, but the exact boom mic model and its phantom-power requirement must still be confirmed before use.

Likewise, onboard transmitter recording depends on the exact RØDE model. Wireless GO II / Wireless PRO / Wireless GO Gen 3 support onboard recording; the original Wireless GO likely does not support the same onboard-recording workflow. That model dependency is part of the working instruction.

1.5 What “Netflix-type muted color” means in this project

“Netflix-type muted color” in this project means a controlled, restrained, polished cinematic image. It is not a technical preset. It is not just a LUT. It is not underexposure. It is a combined production approach involving camera capture, lighting, production design, monitoring, and grading.

A proper muted cinematic image has:

In this system, the muted look should be built in layers:

1. Cine EI / S-Log3 capture for a gradable image.

2. Manual white balance for color consistency.

3. Clean exposure to avoid muddy shadows.

4. Selective lighting to shape the face and background.

5. Negative fill to create contrast and mood.

6. Muted production design to reduce color chaos.

7. Controlled LUT monitoring to preview the intended direction.

8. Careful grading to finish the image without killing skin.

A muted image should still feel alive. The subject should not look gray, dead, noisy, or hidden.

1.6 What the muted look is not

The muted look is not achieved by simply making the image dark.

A bad muted look often comes from:

The muted style should not hide the actor’s eyes, destroy skin tone, or make the scene look like the camera was simply underexposed.

The correct principle is:

Make the world restrained. Keep the person alive.

That means the background, wardrobe, and palette can be subdued, but the face must still carry emotion.

1.7 Core operating rule: expose cleanly, light selectively, monitor accurately, grade carefully

The central operating rule for this project is:

Expose cleanly. Light selectively. Monitor accurately. Grade carefully.

Each part of that rule has a practical meaning.

The wrong method is to underexpose in-camera and hope the image becomes moody.

The correct method is to capture a clean log image, then create mood through lighting ratio, controlled background, restrained palette, and grading.

For actor reels, this is especially important because the audience is judging the actor. The camera style should not make the actor difficult to see.

For feature scenes, it matters because shots must cut together.

For documentaries, it matters because credibility and intelligibility are more important than a forced “look.”

1.8 Master control hierarchy

The FX6 should be operated by control function. Each control has a job. Problems happen when one control is used to do another control’s job.

The hierarchy is:

This hierarchy prevents common mistakes:

• raising shutter just because the image is bright,

• changing aperture constantly and losing depth/focus consistency,

• using white balance to fake a look,

• assuming a LUT fixes lighting,

• relying on camera filenames alone,

• or trusting headphones without watching meters.

1.8.1 Shutter = motion

Shutter controls motion blur. It should normally be set according to frame rate and left alone.

Normal cinematic values:

Shutter should not be the first tool for exposure. If the image is too bright outdoors, use ND. If the image is too dark indoors, add light, open aperture, or use the correct base ISO strategy.

Change shutter only for a specific reason: flicker control, stylized motion, or action sharpness.

1.8.2 Aperture = depth and lens character

Aperture controls depth of field, subject isolation, focus difficulty, and lens feel.

Practical starting points:

A very shallow aperture can look cinematic, but it can also ruin a take if eyes drift out of focus. For two people, f/4–f/5.6 is often safer than f/2.0.

1.8.3 ND = exposure control

ND is the primary brightness-control tool after shutter and aperture are chosen.

Correct order:

1. Choose frame rate.

2. Set shutter.

3. Choose aperture.

4. Set white balance.

5. Use ND to land exposure.

6. Verify with waveform/zebras.

Indoor baseline:

ND Clear unless the scene is too bright.

Outdoor baseline:

Variable ND On.

ND lets the operator preserve cinematic shutter and selected aperture in changing or bright light.

1.8.4 White balance = color consistency

White balance is for stability and consistency. It should not wander during controlled scenes.

Preferred workflow:

ATW should usually be avoided for actor reels and features because it can shift during a take. Manual white balance protects continuity.

1.8.5 EI = exposure-rating/monitoring decision

In Cine EI, EI is not used like ordinary gain. It affects how the operator rates and monitors the image.

Lower EI encourages brighter exposure and can help shadows. Higher EI encourages darker exposure and can protect highlights, but can increase shadow noise if exposure is starved.

EI should be changed only deliberately.

1.8.6 LUT/MLUT = viewing reference

The LUT or MLUT is a viewing transform. It helps the operator see a normalized or preferred preview instead of flat S-Log3.

Preferred logic:

A LUT is not a lighting substitute. It should not be used to hide bad exposure.

1.8.7 Lighting and production design = actual look

The actual muted cinematic look comes from:

• soft directional light,

• negative fill,

• controlled windows,

• dimmed practicals,

• subdued wardrobe,

• non-distracting backgrounds,

• lens choice,

• and final grading.

Camera settings support the look, but they do not create the look by themselves.

1.8.8 Audio = production credibility

Audio quality determines whether the footage feels professional. Bad audio can ruin good picture.

The FX6 audio system must be verified with:

• correct physical input switches,

• correct menu routing,

• proper RØDE gain,

• safe meter levels,

• headphones,

• room-noise checks,

• and test recording.

The project’s core audio lesson is that meters and headphones answer different questions:

1.8.9 Media/logging = post-production survival

The recording is not safe merely because it exists on a card. The project workflow requires:

• unique reel IDs,

• physical card IDs,

• full-card offload,

• two verified backups,

• clip logs,

• slates,

• short filenames,

• and preserved metadata/folder structure.

The file-management master rule is:

Do not rely on camera filenames alone.

Use reel identity and unique clip IDs such as:

A001_C0001

Chapter 2. Project-Specific Proven Settings and Non-Negotiable Warnings

2.1 Proven one-transmitter audio baseline

The proven one-transmitter baseline is the final working configuration for one RØDE transmitter and one RØDE receiver feeding FX6 INPUT1, with CH1 as the main dialogue channel and CH2 as a lower safety copy.

This baseline was reached after troubleshooting the FX6 input switch, RØDE receiver gain, meter interpretation, headphone monitoring, and room-noise behavior.

The core one-transmitter concept is:

One mic signal, two camera channels, two levels.

That means CH2 is not a second person. It is not a different microphone. It is the same microphone recorded lower.

2.2 Proven two-transmitter split-track baseline

The proven two-transmitter baseline uses two RØDE transmitters and one RØDE receiver in Split mode. The receiver’s left/right output is split into FX6 INPUT1 and INPUT2 using the Cable Techniques breakout cable.

In this workflow:

The important operational difference from the one-transmitter workflow is that CH2 is no longer a lower safety copy. In split mode, CH2 is the second person’s main track.

2.3 Proven boom-addition concept (Ignore this 2.3 section—Refer to FX6 AUDIO FIELD SETUP GUIDE instead).

When two RØDE transmitters are split to INPUT1 and INPUT2, both FX6 handle XLR inputs are already occupied. To add a boom as a third separate source while preserving the two lavs separately, the professional solution is a Sony XLR-K3M or XLR-K2M Multi Interface Shoe adapter.

The professional three-track layout is:

The boom mic plugs into the adapter’s INPUT1. The adapter plugs into the FX6 Multi Interface Shoe. The FX6 channel concept is:

The lower-cost alternate is:

That lower-cost method is usable, but sacrifices separate lav control.

2.4 Proven Cine EI monitoring logic

The project established an important distinction:

S-Gamut3.Cine/S-Log3 does not automatically mean the external monitor sees a LUT.

The camera capture setting, monitor LUT output setting, and internal recording LUT setting are separate.

Preferred monitoring/recording logic:

This prevents two major mistakes:

1. Thinking S-Log3 automatically produces a normal-looking monitor image.

2. Applying two LUTs: one from the FX6 and another in the monitor.

2.5 Proven file-management logic

The project’s file-management logic is built around the fact that camera filenames can repeat.

A camera may create filenames such as:

C0001.MXF

That same filename can appear on another card or another shoot. Therefore, camera filenames are not enough.

The safe system is:

The file-management rules are:

• Keep camera originals unchanged.

• Do not dump multiple cards into one flat folder.

• Do not rely on C0001.MXF alone.

• Do not put long descriptions into filenames.

• Use the log for descriptions.

• Copy full card structure.

• Verify before formatting.

• Make a second backup.

2.6 Non-negotiable warnings

The following warnings are project-level rules.

2.6.1 Do not use LINE for RØDE receiver

Do not set FX6 INPUT1 or INPUT2 to LINE when receiving the RØDE receiver signal in this setup.

LINE is too insensitive for the RØDE receiver output as used here. It can produce weak or missing meter response.

Correct:

RØDE receiver → FX6 input set to MIC

Incorrect:

RØDE receiver → FX6 input set to LINE

2.6.2 Do not use MIC+48V for RØDE receiver

Do not use phantom power with the RØDE receiver.

Correct:

Phantom power may be appropriate for a boom mic that requires it, but only on that boom input. It must not be sent to the RØDE receiver.

2.6.3 Do not assume S-Gamut3.Cine/S-Log3 automatically sends a LUT to the monitor

S-Gamut3.Cine/S-Log3 is the recording color/gamma. It does not by itself guarantee that the external monitor receives a LUT-applied image.

To send a LUT-applied image to the external monitor, the FX6 SDI/HDMI MLUT output must be enabled.

2.6.4 Do not double-LUT

If the FX6 sends a LUT-applied image to the monitor, the monitor should not also apply its own LUT.

Double-LUT can make the image too contrasty, too saturated, or technically misleading.

For the Elvid RigVision monitor discussed in the project, direct LUT import does not appear available, so the preferred solution is to let the FX6 apply the MLUT to the SDI/HDMI output.

2.6.5 Do not rename camera originals casually

Camera originals should remain untouched unless there is a controlled duplicate/working-copy workflow.

Safe practice:

• preserve the full card copy,

• use reel folder names,

• use unique clip IDs in the log,

• rename only working copies if absolutely necessary.

2.6.6 Do not split camera-original folders arbitrarily

Do not split a 400GB FX6 card copy into arbitrary 100GB editing folders by dragging pieces around.

That can separate media from related metadata and create relinking or integrity problems.

Safer methods:

2.6.7 Do not rely on camera filenames alone

Camera filenames such as C0001.MXF can repeat.

Use unique clip IDs:

The reel ID prevents duplicate-name confusion.

PART II — FX6 + RØDE AUDIO SYSTEM

Chapter 3. One-Transmitter RØDE Wireless GO + FX6 Baseline(For all FX6 Audio, Refer to FX6 AUDIO FIELD SETUP GUIDE Ver 1.0) instead.

3.1 Original one-transmitter use case

The original working audio configuration was for one RØDE transmitter, one RØDE receiver, and one person speaking. The purpose was to get clean dialogue into the Sony FX6 while also preserving a lower-level safety copy in the camera.

The final one-transmitter workflow is:

RØDE transmitter worn by subject

↓ wireless transmission

RØDE receiver

↓ 3.5 mm audio output

3.5 mm-to-XLR cable/adapter

↓

FX6 INPUT1

↓

CH1 and CH2 both sourced from INPUT1 MIC

This setup is appropriate for:

• one-person actor reel dialogue,

• solo documentary interview,

• one-person narration,

• single-subject field recording,

• a controlled monologue,

• one lav mic recorded with a lower safety copy.

The key design is that the same RØDE signal is recorded to two FX6 channels at two different levels.

CH2 is not a second person. CH2 is not a second microphone. CH2 is a lower recording of the same mic in case the main track gets too hot.

This one-transmitter setup is the safest simple setup for one person because it provides a built-in in-camera safety track without additional hardware.

3.2 RØDE receiver mounted on shoe: mounting only, no audio pass-through

The RØDE receiver may be mounted on the FX6 shoe for convenience, but in this project workflow the shoe is only a physical mounting point for the RØDE receiver.

The key rule is:

The shoe does not carry the RØDE receiver’s audio into the FX6 in this setup.

The audio must travel through the receiver’s 3.5 mm output cable.

If the RØDE receiver is mounted on the camera but no audio cable is connected to the FX6 input, the camera will not record the RØDE audio.

This distinction matters because a receiver can appear “installed” on the camera while the camera is actually receiving no audio from it.

3.3 Required audio path: RØDE 3.5 mm output to FX6 INPUT1

The one-transmitter audio path is:

RØDE transmitter

↓

RØDE receiver

↓ 3.5 mm output

3.5 mm-to-XLR cable/adapter

↓

FX6 INPUT1

↓

CH1 / CH2 recording

The field rule is:

Mounting is not audio. Cable is audio.

The RØDE receiver’s 3.5 mm output must be connected to the FX6 audio input. For the one-transmitter baseline, the target input is FX6 INPUT1.

3.4 FX6 INPUT1 physical switch discovery

The decisive troubleshooting discovery was the FX6 INPUT1 physical switch position.

The user originally saw the physical input options as LINE and MIC+48V, but the correct working position was the center MIC position. Once the input was set to MIC, the FX6 meters responded properly.

The final working rule is:

FX6 INPUT1 physical switch = MIC

3.4.1 LINE position and why it is wrong

Do not use LINE for the RØDE receiver in this setup.

LINE expects a hotter line-level signal. The RØDE receiver signal, as used in this project, belongs on a mic-level input.

Using LINE can cause:

• little or no meter movement,

• apparently missing audio,

• weak recorded level,

• excessive need to raise the FX6 dial,

• confusion that the RØDE system is not working.

Correction:

Move the FX6 INPUT1 physical switch to MIC.

3.4.2 Center MIC position and why it fixed the meter problem

The center MIC position on the FX6 INPUT1 physical switch was the correct setting. This was the practical discovery that fixed the “no audio meter movement” problem.

The physical switch logic for the RØDE receiver is:

The final working position is:

MIC

3.4.3 MIC+48V position and phantom-power warning

Do not use MIC+48V with the RØDE receiver.

MIC+48V supplies phantom power. The RØDE receiver is battery-powered and does not require phantom power. Phantom power is for microphones that require it, such as certain condenser or shotgun boom microphones, and only when connected to the appropriate input.

The warning is absolute in this setup:

Never send phantom power to the RØDE receiver.

Correct:

RØDE receiver → FX6 INPUT1 set to MIC

Incorrect:

RØDE receiver → FX6 INPUT1 set to MIC+48V

If a boom mic is later added and requires phantom power, phantom power may be applied only to the boom input, not the RØDE receiver inputs.

3.5 Final one-transmitter FX6 routing

The final one-transmitter routing is:

This is the saved baseline for one RØDE transmitter and one receiver.

3.5.1 CH1 Source = INPUT1 MIC

CH1 is assigned to INPUT1 MIC.

CH1 is the main dialogue channel. It should carry the best normal recording level.

The CH1 target is:

• strong enough for clean dialogue,

• not so hot that loud words clip,

• normal speech around -12 to -18 dB,

• shout/loud speech around -10 dB,

• never hitting 0/red.

3.5.2 CH2 Source = INPUT1 MIC

CH2 is also assigned to INPUT1 MIC.

This sends the same RØDE receiver signal to CH2. CH2 is then recorded lower by using the CH2 physical dial at a lower setting.

The purpose of CH2 is:

lower safety copy of the same mic

CH2 should not be interpreted as a second mic or second person in this one-transmitter baseline.

3.6 Reference level: -30 dB

The final saved FX6 audio reference setting is:

Reference = -30 dB

This was tested with:

• RØDE receiver output at 0 dB,

• FX6 INPUT1 switch at MIC,

• CH1 dial at 7,

• CH2 dial at 5.

The -30 dB reference is part of the proven baseline. It should not be changed casually.

Important distinction:

If the RØDE output is wrong, changing the FX6 dial alone may not solve the gain-stage problem. The system must be checked from transmitter to receiver to FX6 input to channel dials.

3.7 Final RØDE gain: 0 dB / -0

The final saved RØDE receiver output is:

0 dB

The user initially referred to this as “-0,” but the correct technical term is 0 dB.

RØDE gain interpretation in this project:

The final 0 dB setting allowed the FX6 channel dials to sit at practical positions rather than being pushed too high.

3.8 Final FX6 dials: CH1=7, CH2=5

The final dial positions are:

These settings were confirmed by test behavior:

The system is designed to leave headroom.

3.9 Main track and safety-track logic

The one-transmitter baseline records one mic to two camera channels.

If CH1 is too hot during a sudden shout or laugh, CH2 may remain usable.

The safety track is useful only if CH2 is actually set lower. If CH1 and CH2 are both routed to INPUT1 but both dials are set similarly, the safety benefit is reduced or lost.

3.10 Target meter levels

3.10.1 Normal speech: -12 to -18 dB

Normal dialogue should land around:

-12 to -18 dB

This is strong enough for editing while leaving headroom.

3.10.2 Loud speech/shout: around -10 dB

A shout around:

-10 dB

is safe. It leaves room before clipping.

3.10.3 0/red as clipping ceiling

The 0/red area on the FX6 meter is the clipping ceiling. It is not the desired operating point.

Field rule:

Normal voice around -12 to -18. Loud voice around -10. Never 0/red.

3.11 Alternate tested setting: RØDE -3 dB / CH1 around 8

An earlier workable setting was:

This proved the system could work at -3 dB, but the final preference became:

The final setup kept the RØDE output strong and the FX6 dials in a practical range.

3.12 When to consider -40 dB camera reference

If the FX6 dial must be turned all the way to 10 and the level is still weak, first check the RØDE output. The correct first move is to raise the RØDE output toward 0 dB.

Only after the RØDE receiver is correctly set should the FX6 MIC Reference be reconsidered.

Possible branch:

The saved baseline remains:

Reference = -30 dB

3.13 One-transmitter quick setup table

3.14 One-transmitter troubleshooting table

Chapter 4. RØDE Gain Testing and Button Operation

4.1 Why RØDE receiver output matters

The RØDE receiver output determines how strong the signal is before it reaches the FX6. It is the first major gain point after the transmitter/receiver system.

If the RØDE output is too low, the FX6 dials may have to be raised too high. If the RØDE output is too high, the camera may record too hot. The project found a stable balance:

RØDE 0 dB → FX6 INPUT1 MIC → Reference -30 dB → CH1 dial 7 / CH2 dial 5

This produced usable dialogue levels without clipping.

4.2 RØDE gain values tested: -30, -12, -3, 0 dB

The project tested or encountered several RØDE receiver output values.

The user discovered the receiver had been cycled down to -30 dB, then worked back toward the correct output.

The final target is:

0 dB

4.3 Meaning of more negative RØDE gain numbers

The RØDE output scale is easy to misread.

More negative equals quieter.

Field rule:

If the FX6 level is too low, move the RØDE output toward 0 dB, not toward -30 dB.

4.4 Correct term: 0 dB, not “-0”

The correct term for the final RØDE output setting is:

0 dB

The user’s “-0” reference means the same intended final setting, but the handbook uses the correct label: 0 dB.

4.5 Final gain choice and reason

The final gain choice is:

RØDE receiver output = 0 dB

Reason:

• It allowed FX6 CH1 dial around 7.

• It allowed FX6 CH2 dial around 5 for safety.

• Normal speech landed around -12 to -18 dB.

• Shouting landed around -10 dB.

• The signal had enough strength without clipping.

The test result that locked the baseline was:

4.6 RØDE button operation

The RØDE gain adjustment procedure must be preserved because it solved a practical field problem.

4.6.1 Press left button to show gain

Press the left button on the RØDE receiver to bring up the gain number.

Do this first. If the gain number is not visible, the next button press may not do what the operator expects.

4.6.2 Briefly press right button to change/cycle gain

After the gain number is visible, briefly press the right button to change or cycle the gain value.

Repeat until the desired gain appears.

Target:

0 dB

4.6.3 Avoid holding right button

Avoid holding the right button. Holding may trigger other receiver behavior depending on the exact RØDE model.

Use short, deliberate presses.

4.7 If RØDE becomes stuck at low output

If the RØDE receiver appears stuck at a low value such as -30 dB:

1. Stop before recording.

2. Power on the RØDE receiver.

3. Press the left button to bring up the gain number.

4. Briefly press the right button to cycle/change the value.

5. Repeat until 0 dB is reached.

6. Confirm FX6 INPUT1 is set to MIC.

7. Confirm FX6 Reference is -30 dB.

8. Confirm CH1 dial is around 7.

9. Speak normally and watch meter.

10. Shout or speak loudly and confirm it does not hit 0/red.

Do not compensate for a stuck -30 dB receiver by blindly turning the FX6 dial all the way up. Fix the receiver output first.

4.8 Gain staging checklist

Chapter 5. FX6 Headphone Monitoring and Room-Noise Control

5.1 MDR-7506 suitability for FX6 monitoring

The Sony MDR-7506 headphones are suitable for FX6 monitoring. They are professional-style monitoring headphones and are revealing enough to expose audio problems that may not be obvious from meters alone.

They are useful for detecting:

• breathing noise,

• TV bleed,

• room tone,

• HVAC rumble,

• clothing rub,

• distortion,

• wireless hits,

• cable movement,

• hum,

• handling noise,

• and excessive room echo.

The project specifically used the MDR-7506 to identify that the mic was sensitive enough to hear breathing and a TV in another room.

That was not a failure of the headphones. It was the headphones doing their job.

5.2 MDR-7506 volume-control expectation

The MDR-7506 normally does not have its own built-in volume control. Monitoring volume is controlled by the FX6 headphone volume setting.

The headphone volume affects only how loud the operator hears the audio.

It does not change:

• the RØDE receiver output,

• the FX6 channel recording level,

• the recorded file,

• the amount of TV picked up by the microphone,

• or the amount of breathing picked up by the microphone.

5.3 FX6 headphone volume versus recorded level

The project included a test where headphone volume was reduced from 50 to 35. The monitoring level became more comfortable, but the TV remained audible.

That result is expected.

If background noise is in the microphone, lowering headphone volume does not remove it from the recording.

5.4 Meter levels versus headphone perception

Meters and headphones serve different jobs.

Use all three when practical:

1. Watch meter for safe level.

2. Listen with headphones for quality.

3. Record and review test clip before serious work.

5.5 Breathing noise diagnosis

If breathing is prominent in the headphones, the mic is probably too close to the breath path or too high on the chest.

Corrective actions:

1. Move the RØDE mic/lav lower.

2. Aim for roughly 6–8 inches below the chin.

3. Avoid placing it directly under the mouth or nose.

4. Angle or position it to avoid breath blasts.

5. Use foam windscreen if available.

6. Listen again with MDR-7506 headphones.

7. Record a short test and play it back.

Do not solve breathing noise by lowering recording level unless the voice is also too loud. Lowering recording level reduces voice and noise together.

5.6 TV bleed diagnosis

If a TV in another room is audible in the headphones, it may be audible in the recording.

Steps:

1. Stop before serious recording.

2. Listen during room silence.

3. Watch whether the FX6 meters move when no one is speaking.

4. Turn off the TV if possible.

5. If not possible, lower the TV volume substantially.

6. Close doors between the set and TV.

7. Move the subject farther from the noise.

8. Recheck headphones.

9. Record a test and play it back.

Do not assume that because the speaker is louder than the TV, the TV will disappear. Lavs and small transmitters can pick up surprising background detail in quiet rooms.

5.7 HVAC and room tone diagnosis

HVAC noise can appear as low rumble, hiss, or steady air wash. It may not seem bothersome in person, but headphones and microphones reveal it.

If possible:

• turn off HVAC briefly during takes,

• avoid placing subject near vents,

• avoid pointing mic toward vents,

• close doors,

• record room tone.

If HVAC cannot be turned off, keep dialogue strong and consistent and record room tone for post.

5.8 Clothing rub diagnosis

Clothing rub is one of the most common lav problems. It may occur when the mic, transmitter, cable, shirt, jacket, collar, necklace, or hair touches or moves.

Symptoms:

• scratchy sound,

• thumps,

• intermittent muffled noise,

• rustling during body movement,

• noise only when the person turns or gestures.

Corrections:

1. Reposition the mic away from fabric movement.

2. Secure loose clothing.

3. Avoid collars and jacket edges.

4. Keep mic away from necklaces.

5. Test the actor’s actual movement.

6. Listen again in headphones.

5.9 Mic placement correction: 6–8 inches below chin

The practical placement target is:

6–8 inches below the chin

This gives a balance of voice clarity and reduced breath noise.

Placement guide:

Placement must be tested with the person speaking normally and moving as they will during the take.

5.10 Foam windscreen use

Use a foam windscreen when available.

It helps with:

• breath noise,

• light air movement,

• minor plosives,

• exterior light breeze.

For exterior wind, a simple foam windscreen may not be enough. More serious wind protection may be needed, but the project baseline specifically preserves the foam windscreen as the simple first corrective step.

5.11 Why not to lower recording level to hide room noise

Lowering recording level does not improve the signal-to-noise relationship. It lowers the voice and background noise together.

Bad fix:

Lower CH1 until the room sounds quieter.

Correct fix:

Make the room quieter, place the mic better, then keep the voice at a proper recording level.

If the room is noisy and the voice is recorded too low, post-production becomes harder because the editor must raise both the voice and the noise.

5.12 Room-noise cleanup checklist

Use this checklist before important dialogue:

The goal is not a perfectly silent world. The goal is clean, controllable dialogue.

5.13 Room tone recording procedure

Record 20–30 seconds of room tone for each setup.

Room tone should be recorded with:

• same room,

• same microphone position,

• same camera audio settings,

• same background condition,

• same HVAC condition if it remains on,

• everyone silent.

Room tone helps post-production because it gives the editor a clean sample of the actual room sound to smooth cuts or assist noise reduction.

Chapter 6. Dual RØDE Transmitter / One Receiver Split-Track System

6.1 Why the one-XLR setup is insufficient for separate tracks

The original one-transmitter setup feeds the RØDE receiver into one FX6 XLR input, usually INPUT1. That is correct for one person. It is also usable if two transmitters are already mixed together inside the RØDE receiver and the operator only wants one combined two-person track.

But it is not sufficient when the goal is to record two people separately.

A single FX6 XLR input is effectively one camera audio input. If two RØDE transmitters are combined before entering that one input, the FX6 cannot later separate interviewer and interviewee cleanly. Both voices are baked together.

That means this setup:

TX1 + TX2

↓

RØDE receiver in Merged mode

↓

one 3.5 mm-to-XLR cable

↓

FX6 INPUT1

may record both people, but it does not give independent control of each person in post.

The correct two-person objective is:

Separate channels matter because one person may speak louder, turn their head, laugh, interrupt, rustle clothing, or be recorded in a different acoustic position. If both people are merged before the camera, those differences are harder to repair.

The governing rule is:

One XLR input can capture a mixed two-person signal, but two isolated people require two camera input channels.

6.2 Two-person interview objective

The two-transmitter setup is for interviews, two-person dialogue, two-actor scenes, documentary conversations, and any situation where two people each wear one RØDE transmitter.

The objective is:

TX1 → FX6 CH1

TX2 → FX6 CH2

This produces separate tracks inside the FX6 recording.

A proper two-person split-track setup gives the editor:

• independent level control,

• independent noise repair,

• cleaner dialogue balancing,

• better ability to mute one person’s clothing rub,

• better ability to favor interviewer or interviewee,

• better control when people overlap,

• more professional dialogue handling.

The desired camera result is:

The exact person assignment is flexible. TX1 can be interviewer or interviewee, but it must be documented and tested.

A practical field assignment is:

For narrative work:

The project rule is:

Do not assume both transmitters are separate just because both people are wearing RØDE transmitters. Separation depends on receiver mode, cable type, FX6 input routing, and post inspection.

6.3 RØDE Merged mode versus Split mode

The RØDE receiver can operate conceptually in two relevant modes for this workflow: Merged and Split.

For two separate FX6 channels, the receiver must be in:

Split mode

If the receiver is in Merged mode, both transmitters may appear together. The FX6 may still show audio on both meters depending on routing, but that does not prove true separation.

Merged mode is not “wrong” in every situation. It is useful when the operator deliberately wants a combined lav mix, such as the lower-cost boom setup where merged lavs go to INPUT1 and a boom goes to INPUT2. But Merged mode is wrong when the goal is to isolate interviewer and interviewee on separate channels.

The field test is simple:

If TX1 makes both CH1 and CH2 move equally, the system is probably not split correctly.

6.4 Correct signal path overview

The correct two-transmitter signal path is:

RØDE TX1 + RØDE TX2

↓

RØDE receiver set to Split mode

↓

Receiver 3.5 mm TRS stereo output

↓

Cable Techniques 3.5 mm TRS stereo male to dual XLR-3M male breakout cable

↓

Red XLR → FX6 INPUT1 → CH1

Blue XLR → FX6 INPUT2 → CH2

This path must remain intact from transmitter to receiver to cable to FX6 menu routing.

The complete split-track chain has five required elements:

If any one of these is wrong, the result may be merged, silent, weak, duplicated, or unusable.

6.5 Cable Techniques 3.5 mm TRS stereo male to dual XLR-3M male cable

The required cable is a true stereo breakout cable:

3.5 mm TRS stereo male to dual XLR-3M male

The specific cable type discussed and purchased in the project was the Cable Techniques RØDE Wireless GO II-style “Y” cable, identified in the project as:

Cable Techniques CT-GO2-YX3M-15 / RØDE Wireless GO II “Y” to 2 XLR-3M low-profile cable

The important specifications are:

The cable is not merely “a cable that fits.” It must be wired to preserve the left and right channels separately.

6.5.1 Cable purpose

The cable’s purpose is to take the RØDE receiver’s stereo output and split it into two physical XLR feeds.

In the split workflow:

The 3.5 mm TRS output carries separate left and right audio when the receiver is in Split mode. The breakout cable sends those two sides to separate XLR plugs.

Without this cable, the FX6 cannot receive two separate RØDE transmitter channels through its two XLR inputs.

6.5.2 Why this is not a generic splitter

Do not use an ordinary headphone splitter.

A headphone splitter is usually designed to duplicate a stereo headphone feed to two listeners. That is not the same as properly breaking out left and right into separate camera inputs.

Avoid these for the two-transmitter FX6 split-track workflow:

The required cable is:

3.5 mm TRS stereo male to dual XLR-3M male

The key words are:

• TRS,

• stereo,

• dual XLR-3M male,

• left/right breakout,

• not a headphone splitter.

6.5.3 Cable durability / “flimsy” concern

The Cable Techniques cable may look lighter than a heavy stage cable. That does not automatically mean it is wrong. It is a camera breakout cable intended for lightweight rigging.

But it should be treated carefully because it is a critical signal path.

Field handling rules:

• Do not yank it from the receiver.

• Do not let it hang with tension from the RØDE receiver jack.

• Do not bend it sharply at the 3.5 mm plug.

• Do not step on it.

• Do not pull the FX6 XLR ends under tension.

• Coil it gently.

• Test it before an important shoot.

• Keep it in the camera/audio kit as a dedicated cable.

• Consider carrying a backup cable if the workflow becomes production-critical.

The cable is small, but its job is major. If it fails, the two-transmitter split workflow fails.

6.5.4 Shorter-cable consideration

A shorter cable can reduce clutter on the FX6 rig. However, the first requirement is correct wiring, not just shorter length.

A short replacement cable must still be:

Do not choose a shorter cable if it changes the wiring function. A wrong short cable is worse than a slightly long correct cable.

6.6 Red XLR to INPUT1

For the Cable Techniques cable preserved in this workflow:

Red XLR → FX6 INPUT1

This becomes the CH1 side when CH1 is set to INPUT1.

The intended routing is:

If TX1 is assigned to the left side of the RØDE receiver, the blue XLR should carry TX1 to CH1.

6.7 Blue XLR to INPUT2

For the same cable:

Blue XLR → FX6 INPUT2

This becomes the CH2 side when CH2 is set to INPUT2.

The intended routing is:

If the two people appear reversed, this is not necessarily a failure. It may simply mean the transmitter assignment or receiver side is reversed.

Correction options:

1. Swap the Red/Blue XLR plugs.

2. Relabel TX1/TX2 assignments.

3. Keep the routing but document which person is on which channel.

The safest method is to test and slate:

“TX1 is interviewer on CH1. TX2 is interviewee on CH2.”

6.8 FX6 physical input settings

The FX6 physical input switches must match the RØDE receiver signal.

6.8.1 INPUT1 = MIC

Set FX6 INPUT1 physical switch to:

MIC

Do not use LINE.
Do not use MIC+48V.

6.8.2 INPUT2 = MIC

Set FX6 INPUT2 physical switch to:

MIC

Do not use LINE.
Do not use MIC+48V.

6.8.3 Phantom power off

Phantom power must be off for both RØDE receiver feeds.

Correct:

Incorrect:

The later boom setup may use phantom power on the boom adapter input if the boom mic requires it. That does not change the RØDE rule: no phantom power to RØDE receiver outputs.

6.9 FX6 menu settings

Once the cable is physically routed, the FX6 channels must be assigned correctly in the audio menu.

6.9.1 CH1 Input Select = INPUT1

Set:

CH1 Input Select = INPUT1

This makes CH1 record the blue XLR / INPUT1 side.

6.9.2 CH2 Input Select = INPUT2

Set:

CH2 Input Select = INPUT2

This makes CH2 record the red XLR / INPUT2 side.

This is the critical menu change from the one-transmitter safety-track workflow. In the one-transmitter setup, CH2 was also INPUT1. In the two-transmitter split setup, CH2 must be INPUT2.

6.9.3 INPUT1 MIC Reference = -30 dB

Set INPUT1 MIC Reference to:

-30 dB

This matches the saved RØDE gain-staging logic.

6.9.4 INPUT2 MIC Reference = -30 dB

Set INPUT2 MIC Reference to:

-30 dB

Both RØDE sides should start from the same reference baseline.

6.10 Starting dial values

For two-transmitter split mode, start with:

Then adjust per speaker.

This is different from the one-transmitter safety-copy workflow.

In one-transmitter safety mode:

In two-transmitter split mode:

If Person 2 is louder, lower CH2. If Person 1 is quieter, adjust CH1. In split mode, each channel is a main source for a different person.

Target levels remain:

6.11 TX1/TX2 channel test procedure

This test must be done after installing the Cable Techniques cable and setting the RØDE receiver to Split mode.

Step 1 — Test TX1 alone

1. Turn on TX1.

2. Turn off TX2 or keep TX2 silent.

3. Speak into TX1.

4. Watch FX6 meters.

5. Confirm CH1 moves strongly.

6. Confirm CH2 stays mostly quiet.

Expected result:

Step 2 — Test TX2 alone

1. Turn on TX2.

2. Keep TX1 silent.

3. Speak into TX2.

4. Watch FX6 meters.

5. Confirm CH2 moves strongly.

6. Confirm CH1 stays mostly quiet.

Expected result:

Step 3 — Test both transmitters

1. Have Person 1 speak.

2. Have Person 2 speak.

3. Have both speak briefly.

4. Confirm each channel responds independently.

5. Listen through MDR-7506 headphones.

6. Record a short test.

7. Play back the test before serious recording.

Final expected split result:

6.12 What to do if both channels move equally

If both channels move equally when only one transmitter is active, the system is probably not truly split.

Check in this order:

1. Is the RØDE receiver in Split mode?

2. Is the Cable Techniques stereo breakout cable installed?

3. Is Red XLR in INPUT1?

4. Is Blue XLR in INPUT2?

5. Is CH1 set to INPUT1?

6. Is CH2 set to INPUT2?

7. Are both physical input switches set to MIC?

8. Is any headphone splitter or wrong adapter being used?

9. Is the receiver output being collapsed or duplicated before the FX6?

Common causes:

Do not proceed with a two-person interview until the TX1/TX2 solo test proves separation.

6.13 What to do if one channel is missing or thin

If one channel is missing, weak, thin, phasey, or strange:

1. Confirm the transmitter is turned on.

2. Confirm the receiver sees the transmitter.

3. Confirm RØDE receiver is in Split mode.

4. Confirm Red XLR is fully seated in INPUT1.

5. Confirm Blue XLR is fully seated in INPUT2.

6. Confirm INPUT1 and INPUT2 switches are MIC.

7. Confirm CH1=INPUT1 and CH2=INPUT2.

8. Swap Red and Blue XLR plugs temporarily.

9. See whether the problem follows the cable side or stays with the camera input.

10. Remove extra adapters.

11. Retest with each transmitter alone.

12. Record and play back a test.

Diagnostic table:

A thin or phasey sound is a warning sign. Do not ignore it.

6.14 Split-track verification checklist

Before using the dual-transmitter setup for real production, complete this checklist.

Field rule:

Do not trust the screen alone. Test TX1 alone, TX2 alone, both together, then play back.

Chapter 7. Permanent Split Setup for One or Two Transmitters

7.1 Why a permanent split setup is easier

The project reached a practical conclusion: the easiest long-term workflow is to leave the FX6 in the two-transmitter split configuration most of the time.

That means leaving the camera set as:

with the Cable Techniques cable installed as:

This simplifies field operation because the camera is always ready for two transmitters. The operator does not have to repeatedly switch CH2 between INPUT1 and INPUT2 depending on whether one or two people are being recorded.

The main benefit is avoiding this common failure:

• You shoot one person with CH2 as safety.

• Later you add a second transmitter.

• You forget to change CH2 from INPUT1 to INPUT2.

• Both camera channels record the same person, and the second person is missing or only mixed elsewhere.

Permanent split mode prevents that.

The tradeoff is that a one-person shoot no longer automatically records a lower CH2 safety copy.

7.2 Permanent split settings table

The permanent split baseline is:

This setup works for both:

• two-transmitter recording,

• one-transmitter recording using TX1 only.

The difference is what happens to CH2 when TX2 is not active.

7.3 Two-transmitter operation

For two transmitters, permanent split mode is exactly what is needed.

7.3.1 CH1 = TX1 / Person 1

With Red XLR into INPUT1 and CH1 assigned to INPUT1:

CH1 records TX1 / Person 1

This channel should be adjusted for the person wearing TX1.

7.3.2 CH2 = TX2 / Person 2

With Blue XLR into INPUT2 and CH2 assigned to INPUT2:

CH2 records TX2 / Person 2

This channel should be adjusted for the person wearing TX2.

Two-person dial rule:

Do not automatically set CH2 lower in split mode. CH2 is not safety in this mode. It is Person 2’s main audio.

7.4 One-transmitter operation while staying in split mode

Permanent split mode can still be used when only one person is recorded.

7.4.1 Use TX1 only

For one-person use, keep the system in split mode and use TX1.

This means:

7.4.2 CH1 records solo mic

CH1 records the solo microphone.

In post, CH1 becomes the usable dialogue track.

7.4.3 CH2 likely silent

CH2 will likely be silent or mostly unused because TX2 is not active.

This is expected. It does not mean the system is broken.

The one-person split-mode result is:

The operator should not panic if CH2 is silent during one-person split-mode recording. The question is whether CH1 is clean, properly leveled, and centered in post.

7.5 What is lost: old CH2 safety-track copy

The tradeoff of permanent split mode is the loss of the old in-camera safety track when only one transmitter is used.

Old one-transmitter safety mode:

Permanent split mode with one transmitter:

Therefore, all you lose in the simplified one-transmitter workflow is the FX6’s lower CH2 safety copy.

That is an acceptable tradeoff if simplicity and two-person readiness matter more.

It is not acceptable if the solo speaker is likely to shout, laugh loudly, or produce unpredictable peaks and no onboard transmitter recording is available.

7.6 When to switch back to one-transmitter safety mode

Switch back to the one-transmitter safety workflow when:

• only one person is recording,

• there is no need to be ready for two transmitters,

• the speaker may shout or laugh,

• the take is important,

• and a lower safety copy is worth the menu change.

To switch back:

This restores:

After the one-person safety shoot, if returning to normal two-transmitter readiness, reset:

The danger is forgetting to switch back before a two-person shoot. That is why permanent split mode is preferred as the everyday baseline.

7.7 Editing solo CH1 as centered mono audio

When one person is recorded in permanent split mode, the useful audio is on CH1.

In editing:

1. Treat CH1 as the mono dialogue source.

2. Center it.

3. Do not leave it panned only to the left speaker.

4. Duplicate or fill to both sides only for playback balance if needed.

5. Do not confuse duplication with safety.

Important distinction:

Duplicating CH1 in post does not create a safety track. If CH1 clipped, the duplicated copy is also clipped.

7.8 Field decision table: split mode versus safety-copy mode

Use this decision table before a shoot.

Permanent field rule:

Leave the camera in split mode most of the time. Use TX1 for one person, TX1/TX2 for two people. Switch to safety-copy mode only when deliberately needed.

Chapter 8. RØDE Onboard Transmitter Recording

8.1 What onboard transmitter recording means

Onboard transmitter recording means the RØDE transmitter itself records an internal audio file while it is also sending audio wirelessly to the receiver.

This creates two possible audio paths:

Path 1:

Transmitter → Receiver → FX6 recording

Path 2:

Transmitter → Internal transmitter recording

The internal transmitter recording is independent of the FX6 recording. It can function as backup audio if the wireless link, camera input, cable, channel routing, or camera gain fails.

This is especially valuable in the permanent split workflow because a one-transmitter shoot may not have the old CH2 safety copy.

8.2 Camera audio versus transmitter internal audio