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Certain reservations


Guest Mick

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Guest Jeffrey Colon

I really don't understand where this is going.  Bottom line for me, A transmitter that can record, be adjusted and doused remotely seems a godsend.  I wish I could afford a couple.  The privacy afforded by digital transmission is another bonus. (TT mentioned the 700, Lectro has had encrypted wireless for a while although I have never seen or been asked to use one.)

Lot's of good points made here and the use of these as recorders will surely cause someone a headache one day... things happen.

'Scuse me if I missed this in a previous post... Can the Zax Tx be used as a recorder only with no transmission? Can it be externally powered for extended run times ?

IMO, The biggest downside of a 12hr. recording TX...If was a "reality" mixer, I might start expanding my job skills.

Jeff C.

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Phil, I stayed off this thread (and all of ramps lately), but felt obliged to jump in here when no one mentioned my points and now again to answer you. 

Am I missing something when you said "stop telling me that constant recording isn't going to be a problem for some people and give us a way to remote stop/start the recorder in the TX.  This can't be that hard for Zax,"?

Did you miss my opening satement where I said "these transmitters provide a safeguard that current transmitters do not".... "The Zaxcom remote control allows you to turn them on or off whenever you want to (along with other functions).  You don't even have to go closer than a couple hundred feet from the actor to do so from your cart."?

From there I went on to comment on other statements made in this thread that I don't agree with in the context I wrote - where I wonder why the constant (if you should so choose not to turn it off) recording is any more dangerous that the current unencrptyed transmissions, live from the actor's unsuspecting mouths, going uncensored right over the public airways at all times.  Now that's really playing with fire!  What do you think actors would say if they knew that you had zero control over that?  Do you inform them that they are always transmitting on public airways unless they turn off their transmitter between every take?  God forbid, what would they say when nefarious people finally figure out how easy it is to use a scanner and recorded their scripted and candid moments for public consumption?  Then which evil would be preferred, us handling their audio or the bad guys?  Just because we've been ridiculously very lucky so far....it's a valid worry.

I'm very glad to hear that the recording TXs CAN be remote rolled and stopped, thanks for pointing that out.  The next time in LA I'll come in for a demo--they are definitely on my list.  There will still be actors that will be suspicious, but if I can show them the TX recorder going on and off w/ the remote then that should allay their fears, I hope.  (Of course, some actors WANT the extra ADR work, and may not be so thrilled when they hear why we are using the recorder/TXs.)

The business of people snooping on location audio w/ scanners is a separate issue--they can snoop with scanners, they can snoop on production walkie conversations (about when what famous actor is coming out of their trailer etc) and a determined snooper w/ a little tech knowledge could even rent a Zax outfit from you and scan thru the freq's at a set where they were being used w/ the encryption off.  We can't do anything more about that than we are already.  Do all you Zax drivers use the encryption all the time?

However, all this discussion still misses the larger point of what's happening to real-time wireless transmissions.  My jobs are so Comtek-crazy (15 and counting) that a lot of wireless dropouts, esp. across multiple actors or characters would cause a riot in video village.  Does anyone have a clear idea what a head to head matchup of the proposed "white space" devices and a wireless TX would sound like?  Would the "white space" device

"see" the wireless TX and stay off that freq.?

Philip Perkins

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If our encryption is not enabled the signal still can not be monitored by any scanner or FM receiver. It can be received by any Zaxcom Digital Wireless receiver on the same channel.

Glenn

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Well i can't argue with the guy who makes the things.

But I could have sworn that on the last reality gig i did, 2 out of the 5 crews were using the zaxcom stereo camera hops, and the field directors were given pre programed Icoms, with the frequency of the transmiters so they could monitor what was being sent to camera. They also had the frequencies of all the "Contestants" programed in so they could hear the different individuals if they weren't in the mix.

But obviously I've been drinking too much eggnog to remember properly !!!

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Well i can't argue with the guy who makes the things.

But I could have sworn that on the last reality gig i did, 2 out of the 5 crews were using the zaxcom stereo camera hops, and the field directors were given pre programed Icoms, with the frequency of the transmiters so they could monitor what was being sent to camera. They also had the frequencies of all the "Contestants" programed in so they could hear the different individuals if they weren't in the mix.

There must have been some other system in place that you were unaware of that could provide the monitoring of the signals you describe. As Glenn and others have pointed out, the fully digital transmission of any of the Zaxcom wireless units (camera links OR talent) can only be monitored using Zaxcom digital receivers. Providing a monitor mix for the field directors of the contestants would not be a problem because quite likely the "talent" were wearing conventional wireless mics. Now, if you tell me the whole show was on Zaxcom digital wireless, the only way the monitoring you describe could be accomplished would be to have had a Zaxcom custom monitor  receiver setup (and I have not heard of any such rig having been built for anyone).

Regards,  Jeff Wexler

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