Dan Brockett

Thanks for sharing that Constantin, I have not seen nor heard of that one. The specs look pretty good. What are you using for a monitor? High brightness or just a regular monitor? Do you work outdoor much?

https://www.amazon.com/Accsoon-Transmitter-Wireless-Transmission-Incredibly/dp/B07Y8W3MC7/ref=sr_1_3?crid=15WJ9080VFSGS&dchild=1&keywords=accsoon+cineeye&qid=1592321372&sprefix=Accsoon%2Caps%2C200&sr=8-3 You guys will laugh, but I've been using the Accsoon CineEye for almost a year. It's cheap and the output is surprisingly decent. It's built really nicely for cheap Chinese. Downsides are that the internal battery is soon depleted (I used hook and loop fastener to fasten a small Anker candy bar battery to the rear of it and it goes all day now, no problem), the range is limited to about 200-300 feet line of site and less with walls or glass in between, and it's HDMI only, not SDI and it doesn't transmit audio, video only. It's far from a Teradek or the others mentioned here but it's so cheap as to almost be free and it actually works. All of those limitations aside, the plus side is, it's 5G, so you don't need a receiver and a monitor, you can use up to four phones or tablets at once so your director, producer, ad agency person, scripty, boom op, whoever, can download the Accsoon app on their phones to see what's happening. I rigged up a spare iPad Mini I had laying around, fastened another Anker battery to the rear of it, attached a Hoodman and it becomes my director monitor for sit down interviews, works great. It's not as good as a Teradek, Vaxis or Hollyland, but it's almost free and is surprisingly good for the money. For $200.00, it's worth ordering one off of Amazon and TRYING it in your situation to see what it does. If you need something better, return it, then you will know. I shoot a lot of BTS and EPK content and these clients won't give me budget for a Teradek or a good system so I bought this really so my producer could see what my camera was seeing when I was in tight places in set and there was literally no room for her to be on set but she wanted to see what I was shooting. I also use it to get a tap from video village when I am sound mixing. It's insanely handy. I've used when shooting with a camera mounted overhead on a jib, camera mounted up high in a corner. The unit is small and light enough to fit onto a hot shoe on a mirrorless camera or you can Velcro it to an arm or Mafer clamp close by. Really a useful and amazing tool IMHO. Not a high end pro tool but how else are you going to get usable wireless for $200.00? It does have too much latency to pull focus from but that's to be expected and all camera HDMI outputs have varying latency anyway.

Having rolled a dozen GoPros on various racing boats for our Docu Series, I like PMCs solution above. Easy and works. We had to keep our GoPros waterproof so we couldn't run anything into them anyway, the ports weren't accessible when waterproof. GoPros, honestly, in professional production are a nightmare, they overheat, fog up, stop recording randomly. They are anything but pro. But at least using a phone TC slate, the editor gets some reference frames for off set in editing.

Yes, if you get the one that Sound Devices suggests, the +20100. Wow, I just pulled up TVPostSounds link above, the price on this battery has dropped by 2/3 since I bought it a year ago, I think I paid $99.00 and now they are $32.49, killer deal, buy a couple. I have several other Ankers I've used for years for charging phones, Go Pros and other small gear on the go, they really make great batteries. I have the Accssoon CineEye, a small HDMI to 5G wireless video transmitter that only has an internal battery that wears out in about an hour. I used that heavy duty hook and loop fastener and hooked a small Anker candy bar battery to the back of the CineEye and now it can stream video all day without needing a battery or charge. The Ankers are life savers.

Have been using the Mix Pre 3 for live streaming. We run all cameras and the MP3 via AC adapters for live streaming as you cannot do battery changes, ever, during a live stream. In the field for regular shoots, we have the Mix Pre 3 in a Ktek bag with the SD Sony NPF plate as backup and the Anker 20100 candy bar battery running into the USB C with the battery in the front puch of the Ktek bag. If the Anker USB C connection is ever ripped out, the Sony NPFs would take over powering chores. Has been bullet proof so far. We did an all day video shoot last week and the little MP3 was a champ and the sound was great.

Nice. I love organization.

Thanks guys, all good advice.

Thanks Scott, that makes sense. I just ordered two new neutral freq caps from B&H, I bet these will probably fit on the this mic and stay on fine. I'm glad you know something like this, thanks for the heads up, I was scratching my head.

Any thoughts about Loctiting or even Crazy Gluing the cap in place if I am positive I don't ever want to use the frequency boost caps and just stick with neutral? Do you think either of those might harm the B6? My favorite setup are the Rycote Overcovers so lots of "sticky rigs" for me. B&H has the replacements for $8.33 ea.

Hi all: I had a Countryman B6 that I bought 20 years ago and used it until the cable shed it's jacket. Countryman couldn't repair it so I looked around and found a lightly used one missing it's case and accessories for a song so I bought it since I already had a case and all of the accessories from my old B6. I tested the new B6 for function at home and it worked fine. Was on a shoot yesterday and went to mic talent. We had a break and the talent unmiked himself and left the lav on a counter, no big deal. But I noticed that the protective cap was missing. Searched through talent's wardrobe and all around the floor where we were shooting but couldn't find it. No big deal, I ordered two replacement caps this morning. I was using the Flat frequency response cap yesterday, so once it was lost so I went to use the 4dB frequency boost cap and I notice that the fit of the cap on the mic head is a bit loose. I try the other cap I had, the +8 and same thing? The caps will fit onto the head but the fit seems to be a bit loose, like they don't fall off but even slight pressure, they seem to come off. Is it possible Countryman changed the mic head diameter or something over the past 20 years? New mic with old caps? I've kept them in the mic case, in their original little baggies that has the little frequency response chart with them. My original B6, I never, ever had a cap pull off or fall off in use. What could cause the new mic head itself to have a slightly loose fit with the caps? I always just use the flat response cap, I don't have a pressing need to change them out a lot, I find I generally don't prefer the sound of the frequency boosts. If this was your B6, how would you remedy this? I was thinking of getting a toothpick and putting a bit of Loctite inside the cap. As long as none gets on the end where the mic diaphragm is, it should affect the sound should it? if I don't have talent sweating or going into water or mud, is it safe to use the B6 sans a cap? Weird issue. I pressed on the caps with some reasonable force to make sure they are "seated". I think they are just friction fit, I don't see any little tiny lock rings or lock retainers molded onto the mic head housing or the caps? Thanks for any advice. Dan Brockett

I've been pronouncing it wrong for decades! Good to know.

If you are used to lugging a broadcast 2/3" type, or Arri, fully outfitted RED camera all day, you'll be fine. If you mostly shoot with an A7 mirrorless, you're going to find an FX9 with the kit lens, XDCA or other back and a V Mount is going to feel huge and really heavy to you, especially lugging it for 16 hour days as a OMB. Perhaps I am spoiled but I find the C200 to work better for that type of shooting, cradled mostly. Even fully outfitted with all of the Zacuto and Wooden Camera gak I have to make it work as a shoulder mounted camera, it is much shorter, smaller and lighter. Maybe also consider the C300 MKIII, which looks to be a pretty great camera package that also shoots internal RAW as well as XF-AVC. Trust me when I say the S35 sensor is not any worse or better overall than the FF on the FX9 in use. FF is not the be all end all that many in the business paint it to be. I don't mind it but I would never let it dictate a camera purchase for me. Sorry for the topic creep. Good luck!

I found, for me, personally, the FX9 with the XDCA back and a good size V mount to be too long and too heavy. I used it mainly with the 28-135mm f/4.0 G OSS lens, which is really liked, but I liked the rig better without the XDCA back and the small batteries. Without the back, yes, the camera was very front heavy. A good compromise might be the much smaller and cheaper battery plates from Wooden and Tilta (I think it was those two so far?) They are much less money and much shorter than the XDCA. For me personally, I have never cared about wireless receiver slots, I would rather work with a pro sound mixer when I am shooting and we attach whatever they are using for a wireless hop via Velcro, rear rods, 1/4" 20 holes, etc. For me, wireless slots are for newsshooters who don't work with a sound mixer. Few pro sound mixers I work with use Sony wireless. My main A camera is the Canon C200, or our C300 MKII if we have clients who don't want RAW. Granted, I rig those cameras up with the Zacuto VCT Pro, rods, handgrip extension, etc. so those cameras aren't super small and light as well but when fully rigged, they are still smaller and lighter than the FX9 with the XDCA. A lot of it just depends on what you mostly shoot. On tripod, who cares about weight and length? But if you are walking around a hot beach all day with the camera on your shoulder and no tripod, every ounce counts IMHO. I shot some sunsets and surfers for stock with the FX9, the XDCA and the Sony 100-400mm G OSS lens and that setup was ridiculous because it is a very long lens, mounted on a very long camera and back. Liked the lens but carrying it and trying to fit it on the floor of my car for transport was a mess. My B camera is the Fujifilm X-T3, which is super tiny and light weight so going from that to the fully rigged FX9 was quite a shock.

Nothing about the audio performance of the receivers but I shot four projects with the FX9 over a month in February. I liked the camera. I didn't use any slot receivers and I did use the XDCA, primarily so I could power the camera with V Mounts. IMHO, adding the XDCA and a good sized Vmount and a single or pair of receivers will change the footprint, balance and overall weight and bulkiness considerably. I found the camera with the adapter and a thick V mount to be overly long and a lot heavier. If you come from Arri Alexas and big shoulder mounted cameras, bearable. If you come from smaller cameras, you might find the same.

I also covered this story for www.hdvideopro.com Kudos to our friends at Sound Devices for doing this, it's kind of an amazing effort and has undoubtedly helped many people. https://www.hdvideopro.com/blog/sound-devices-steps-up-during-pandemic/

I just shot a little production for a friend solo. It was a presentation on portable patient overflow rooms he wanted to make to share with local healthcare professionals and hospital administrators, a community service kind of thing. We agreed when we set out to shoot that we would maintain social distancing rules (this was during week one of quarantine). I brought two transmitters. I disinfected the one he was going to use with bleach diluted water. Standing ten feet part, By miking myself, I showed him how to place the lavaliere on the inside of his shirt using a Rycote Overcover. I had him coil the excess cable, secure it, plugged in the transmitter, placed it on his belt, covered with un-tucked shirt. At the end of the shoot, had him place the lav and transmitter in it's pouch. Took it home, disinfected the pouch, transmitter and lav/cable. The sound turned out great. The whole thing was pretty simple. Not every talent can mike themselves, but he could fortunately. Moving forward, who knows what the new protocol and drill will be?

I was lucky to have collaborated a bit with Jay and had several phone conversations with him over the years. He gave me some great advice about working with a publisher when I wrote my first book. He always gave a lot of good advice and shared his knowledge freely with whoever asked him. RIP Jay, hope to have conversations with you again someday!

All one has to do is visit their local Costco to see how the Sheeple are behaving. Fear and fear-driven herd mentality is an ugly thing.

It does seem by the day that the panic levels are rising with the general public. We may be entering a whole new 2020 reality for everyone for everything if the new international cases and deaths don't begin to recede. The headlines today are scientists complaining that the WHO won't declare this officially a Pandemic, yet. Lot of politics and PR at work here, I am sure.

I'm at the Sony DMPC in LA next week on the 12th for a workshop so I will be asking around there what the Sony staff are hearing about Sony staying or bailing on NAB 2020. Doesn't mean they'll tell me, but I can always ask.

Hi all: I searched and didn't find another NAB status thread but mods please delete this or re-post if I have missed an existing thread. I just received the presser that Zaxcom has pulled out of attending NAB for 2020 due to Covid 19 virus concerns. This was the first sizable audio-centric manufacturer pulling out that I've heard of. Not Attending NAB 2020: Atomos So sorry, meant to type AJA, not Atomos, my dumb typing. Nikon Western Digital Zaxcom Just keep replying and we can keep a running tab on who will or won't be there. I predict if Sony or Canon pulls out, NAB may pull the plug. What do you think? Are you planning on attending? Have even heard some chatter that IBC and CineGear may also cancel but it's probably premature to talk about those shows until we have an understanding of what's happening next month.

Looks good. Clean and simple, with a good sense or humor!

I know so little about SEO that I don't know what I did. Really what seems to matter is your ranking on Google search tied to your geographic location, right? Since I am near Los Angeles, it seems as if keyword ranking will take some thought as there are so many sound mixers in the LA market. Would be much easier in a smaller metro area.

Unfortunately I don't have any Sennheisers laying around to compare them to. I do need to do some noise tests and compare them against the Røde. Will report back what I hear.

Ha, ha, this is awesome. Wonder if it was an art department initiated "cable access" looking prop or if they actually used the sound from it?