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Frido Beck

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Everything posted by Frido Beck

  1. I'm not really into hardwired lavaliers. Needs more managing and baby sitting than six wireless. Just put the transmitters on the lowest power setting to reduce potential intermod and either sit in the same room with the receivers or run log periodic dipole antennas.
  2. Are you really plugged into the headphone port or into the x3/x4 port?
  3. I have no experience with anything under 512 MHz and I don’t shoot often in Rotterdam so I can’t give you a local scan but I can give you this link: https://www.microfoonbanden.nl/ If you type in Rotterdam (or any other city) in the search engine you will get a rough estimate of frequencies that are NOT already occupied by bigger RF spectrum users. This ofcouse doesn’t include wireless microphones etc. In my experience it’s not hard to fit 5-12 wireless channels in a small spectrum. I do need to remind you we have a maximum of 50 mW transmission in the UHF range and officially a smaller deviation (50 khz instead of US 75 kHz) of the signal. Not that I’m ever get checked about it but I run 25 mW Digital regardless with great succes (dense channel packing and great range)
  4. 1. Read the manuals. 2. select the right settings. 3. select the correct tc cable. 4. plug the cable in.
  5. It's common practice to re-build all your preset settings from the new Factory Default (Menu -> Quick Setup) after each firmware update (otherwise you use a older firmware preset on a new firmware)
  6. Frido Beck

    Camera Hops

    Types of jobs you do: Commercial Productions (Corporate Video, Commercials, Branded Docs, Branded (Multicamera) Reality) Camera audio will be final or reference: Reference Mono/Stereo hop: Mono (Sennheiser EK100 or EK300 IEM both SMA modded with straight or RA antenna depending on the position on the camera) Most common cameras you work with: Sony FS7 TC: 3x Timecode Systems UltraSync ONE for on Cameras and 1x UltraSync ONE as TC transmitter. Zaxcom QRX235 sends Timecode to the Zaxcom Transmitters
  7. Frido Beck

    Camera Hops

    Yeah ok you're right on that 😛 the prices are weird though. A cantar is 4-5x the price of a 633. Should be €200 for a cantar or atleast 150. NB actually dropped the prices on wireless too... But i think were flooding this thread with a different subject now though
  8. Frido Beck

    Camera Hops

    There's so much gear we can't specifically charge for like special colored cables and an extra shockmount or new sound bag. The stuff that production actually feels in their workflow needs to be charged accordingly.
  9. Frido Beck

    Camera Hops

    Difference is that camera department rents it for their so called pretty pictures and we rent it for something that doesn't have to do anything with sound on set actually. But it's a service for the editorial department. I get €35 per timecode on camera and €30 for wireless timecode option here in Netherlands (wireless updating timecode for multicamera and commercial projects)
  10. Frido Beck

    Camera Hops

    Everyone their own business practice but I'm not renting my UltraSync ONE's for €4 a day. If they can pay for more camera's they can pay for more timecode on camera's and possible wireless reference tracks. And about the 'extra risk' - ofcourse if they destroy it it's on them but I'm not going to check everytime if there's a different scratch or spot on the gear and charge for that. Over time that all adds up but if it still works I can't put it on them personally. Some of My Sennheiser IEM's have scratches on them so lower resale value and just uglier to look at for me in general as the new looking one's. But they work perfectly. Am I going to charge them for that? No, that's why I charge €35 per IEM with headphone and rechargable batteries.
  11. Frido Beck

    Camera Hops

    No!!! They pay for "Timecode On Camera". They pay to sync easy and fast ("The Goal") It actually doesn't have to do anything with the timecode box itself ("The Method") It should be more - it doesn't have to do with the price of the timecode box itself. The service and extra work and extra risk (it's on a camera and not in your hands) that's why 1% works for a boompole (or less) but not for a timecode box or anything else that's given out to other people.
  12. Check this vid at 3:25:
  13. 633, 4 channels of Zaxcom wireless (fully color coded from transmitter to receivers to cables to 633), K-Tek Stingray Small, Audioroot, Sennheiser SK100 for IFB and camera guide sends, Ultrasync ONE for timecode transmission
  14. I can understand. personally I don't like the Panamic detachable tips (or any other detachable tip on boompole that's specific to a certain model/manufactorer, I also have a really small PSC boompole that has its own specific detachable tip). I use a third party quick release. I love my Mini 53-5807.
  15. No I don't have work experience with Ambient boompoles. I just checked out the length the original poster has in mind (about 4 meters extended) so I mentioned another model that may be better suited for the needs mentioned. (narrative & documentary)
  16. Panamic is a great choise, but if you want to use it also for documentaries why go with a boompole that collapses to 1,50m? Thats fine on a cart but no so fine for docs. I have the Panamic Mini 53-5807 that's about the same extended length (4 meter) but is a 5-section instead of a 3-section so it collapses to 1 meter (2/3rds of the one your looking at) so more suitable for an all-round boompole IMO.
  17. I know, but thanks for clarifying. I was just commenting on the choice or words not reflecting the actual things he was getting at (quote: "if digital and analog wireless in the same setup can work fine all together"). He rather should have asked whether it makes a difference if by going analogue line level or digital AES3 out of the receivers into the recorder. He is actually already using Digital and Analogue wireless together if I read correctly. I think the actual difference between the two transmission schemes affect the workflow and end result more than the last step of going line level or AES3 out of the receivers, particularly when using them together (frequency planning etc).
  18. The Zaxcom wireless transmission is always 100% digital.
  19. Well I don't know what your soldering skills are but once upon a time (5 months ago) I thought I could do the sma mod myself on an SK100 tx and destroyed a small component with my soldering iron next to the antenna connection and after that I barely had 3 centimeters of range 😪 lesson learned
  20. Understood. I'm going to demo the TRX743 when available and I hope that fits my needs, next to my existing five zaxcom channels for lavaliers
  21. Next week I'm comparing with a colleague the ZMT3 PH 2 vs his Audio LTD A10 both with Schoeps CMC6 MK41's. If the noisefloor is similar on both systems I'm probably gonna accept it and buying it. On locations with some ambient sound it isn't really distinguichable anyway. I do feel the actual sound quality and frequency response is better on the ZMT3 PH versus the TRXLA setup with external phantom power box. and ZMT3 PH 2 is just so much easier to use on a boom
  22. The relative noisefloor is the same if I use lavalier mics (Sanken COS11 ) but with them I usally set gain at 15-25 and I need more for my phantom microphones (30-40) to get proper levels. So more gain = more noise obviously. So I guess I just need to shoot in locations that have a bit of background noise :). Instead of a rather silent room like this. I've had great results with the Sankens on my 5 channels of Zaxcom but I need to adapt my ears to the noise on the Schoeps through a transmitter. The benefit (why I want it ofcourse) it obviously being wireless from the cart. So I have to weight that in versus the noisefloor. I just hoped that the ZMT3 PH 2 would sound better as my UMP II + TRXLA2...
  23. Got a demo ZMT3 Phantom 2 today for comparison with my Ambient UMP II + TRXLA2 setup. I'm a bit underwhelmed... Or maybe something is wrong with my setup. I hoped that the TRXLA2 being a unbalanced input and extra 3 v into the ambient was the problem for the noise but for me they are too damn close noise wise. I know mic position in this vid is not good but they are the same though. Did a video with Schoeps CMC6 MK41 into the Phantom 2 and CCM41 into the UMP II / TRXLA2. I switch on random moments between the audio tracks: Here is the original audio file: https://drive.google.com/open?id=1TWYZsmxrSG6BL6Fg30wAoyIwDUQuQI0a For the video I inverted the phase on the second track and normalized them both to peaks at 0 for easy comparison: https://drive.google.com/open?id=1zGzTaUQ0CxMQYPMUl9d-lHUIBzhIoPaz I hope you can understand my horrible version of the English Language (Not a native speaker)
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