DonovanBomb

This is a feature vs benefit sales topic where we sound mixers might inadvertently devalue a product by selling a gear rental instead of selling the benefit. I offer "camera sync" at $100/camera for the first 2 and then $50 for each additional. Try to avoid telling them what camera hops or TC boxes you use because they don't care. Getting it done with two boxes on camera or a device that does both doesn't matter to them. I haven't seen it in awhile but started getting productions trying to provide their own Tentacle Syncs because their video editors were asking for them and they're only around $200 each. What works for me is telling them I'll provide whatever the camera accepts - that their editor will be happy having every option that was available. Usually by this point in the booking conversation they've already decided on you and just need to fit within budget so won't care that they're paying $100/day for a Tentacle when all they're thinking about is total cost.

I assume when products like this get released the day before NAB it's because a more significant product is being released. This way a product like this doesn't get completely overlooked.

This is an insane amount of receivers in what K-Tek calls their small sized bag. With the Nova and 4-channel receivers doing what used to require a rolling cart - I think we should be proactive in discussing the future of our department. It’s going to be very hard talking with a client when the last mixer said they could record 8+ lavs and still have their hands free to boom.

I was an early adopter with a DBSMD and DCR822 receiver. From day one I've been absolutely blown away by how great they sound. Lectros Digital-Hybrid sound great, but once you listen them side by side it's incredible. I've picked up their digital plug-on called the DPR and it's completely changed sit down interviews. If you're at all concerned about range Here's an article where thanks to Lectrosonics I didn't have to face my fear of heights!

I'm sure there's a few mixers trying to dig up their old BEC mounts right now

So what have we decided on for how much we’re charging our clients for this?

Turning the power on? Ah, I'm joking with yah. Your pic isn't giving us too much information to work with. Show us the sides or a pic of the units on the same frequency. There's people in this forum who could tell you absolutely everything about these units with just a serial number.

Hey Max! Welcome to JWsound. It looks like you've posted a facebook question, but we're still happy you're here. All of the users here have professional sound gear so we've started talking about buying cameras so we can take jobs from one man bands like yourself. What camera would you recommend that we can put up on a tripod? Budget is around $1,000 so we understand that is never going to be enough to get professional quality. Also just to note, I know that you can get better cameras used if I look hard enough but which one would you recommend for ease of use and quality? Any and all help is greatly appreciated!

Please post a direct link where I can purchase when it's released.

50 or 416 > MM1 > F8, 411/um400 x2 (cos-11d), Rodelink camera hop, Tentacle Sync, UM100 to UCR100 x2 IFB, Orca 28 bag/orca harness, Talentcell for power

Thanks SeeSound! I was in the market and really debating between the two, but your input really helped me make a decision. Just placed an order so I'm looking forward to trying out my new URSA straps next week!

A pair of headphones is like a pair of underwear... they're personal items meant to cover yer holes. So if you show up on set and start asking around to borrow a pair, people are going to make assumptions about your professionalism.