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About ao

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  • Birthday 01/01/1

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    tv drama, documentaries
  • Interested in Sound for Picture

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  1. the only wifi video that i have personal experience with is when working with a qtake operator on set. the operator acts as a "gatekeeper" and has to grant you permission and a password to log in to their wifi video stream. after you log in the first time, the system should recognize you on subsequent log ins unless they have had to reboot the system. i use it when it is a nuisance to run cables to the dit cart or the qtake cart. the latency is such that you can't use the image to anticipate cues. as mentioned, always helpful to know who is speaking (or the size of the frame). i use an older ipad pro 10.5 for viewing. i can toggle between cameras in landscape orientation to have a large image. when the ipad is in portrait, i can stack two camera views, one over the other, to give the equivalent viewing area of (2) 7" monitors there has been some buzz about using the qtake for video and audio monitoring on the floor, after this covid19 hiatus. this would be in lieu of handing out individual ifb receivers. my concern is producers unplugging their buds from their ipad to make a phone call, and causing feedback on set if they forget replug. the qtake system is iOS only any additional wifi devices chew up valuable 2.4 bandwidth, which just increases the likelihood of performance failure. i stopped using zax erx ifb units once boosters and polling didn't cut it anymore. this was especially true when on a set with devices that use spread spectrum propagation on 2.4.
  2. ao

    Zaxcom ZMT3-X

    it's hard to imagine, but i run into some costumes where the regular zmt3 is visible as a lump under a costume. the thickness of the "x" won't work in those situations, but i have situations involving prosthetics where space is less important and run time is. not thrilled that it is another battery format that requires another charger, after buying a lectro 12 bay np50 charger. got a tongue lashing from a director last week when we had to replace a battery in a difficult costume placement with a zmt3 about not "anticipating" when the battery needed to be replaced. i would not have bought 6 zmt3 transmitters if i had known that putting the units to sleep was not going to be an option. live and learn (get burned)
  3. items like this are always built to a price point, and compromises are made. i would like there to be an updated charger with better fans or a “pro” version which would have quieter fans and a shut-off function, once charging is complete. i haven’t had the nerve to take the charger to a drama set yet. it seems hypocritical for the sound department to bring noise makers to set. i am likely to continue to use the charger at home until a quieter version is available. i am prepared to pay more for the “pro” version.
  4. i find this concept very attractive. also, am hoping the abetek caddy will be more friendly to batteries than the existing caddys that i use are. i use the format because i like the format but i know it accelerates the wear on the battery. i will contact one of the "usual suspects" in the morning
  5. make sure you haven’t replaced the antenna with an “rpa” version that isn’t making a connection
  6. the 4 bay audioroot charger has a fan. it is possible to turn the fan off when using on set, at a reduced rate of charge
  7. there is a tech type in my market that converted one 4zone. will look into it when i don’t need mine for awhile
  8. the supercmit non-processed signal has been noticed by others to be not as quiet as having the analog version of the microphone. i stopped using my supercmit since repairing the microphone can take months (3 months the first time, 2 months the second time). the other option would be to get a second one, but the show i am presently on doesn’t have the consistent height on its sets to successfully use it, so i haven’t done that either. while the 742/743 works well with the supercmit, 3 lithium batteries will only power the unit for about 3 hours. hard to get a production company to get on board with that expense, despite the fact that 742 battery use is one of the smallest expenses on any large production... when i was using the microphone regularly, not having a digital version of “neverclip” was a problem. one production cared less about the dialogue in one scene, and criticized not having loud noises (car doors closed enthusiastically, even loud slates would overload the microphone
  9. ao

    Playback rig

    if you had a recorder with dante, and your wireless receiver rack had dante, your interconnect between the two devices would be one cable (two with a redundant connection. i’m halfway there - recorder yes, wireless no
  10. i get 4.5 hours from a fuji branded battery, running at 50mw. the latest software has disabled power saving measures. not sure if it worked inconsistently or not at all. i have nothing to compare it to, since i never played with it in the past. i had hoped to sometime. our regular morning is 6 hours, and i had hoped to nurse the zmt3 to 6 hours, with power management. my trxla with 2 decent eneloop pros, will run 6+ hours
  11. another use was to remotely connect to your answering machine to retrieve messages, when confronted with a public rotary dial phone
  12. camera dept does not know what 2.4 frequency they are transmitting on. use this list if they throw a preston channel number at you preston frequency list: channel MHz Channel MHz Channel MHz 0 2402 10 2424 20 2458 1 2404 11 2428 21 2460 2 2406 12 2432 22 2462 3 2408 13 2436 23 2464 4 2410 14 2440 24 2466 5 2412 15 2444 25 2468 6 2414 16 2448 26 2470 7 2416 17 2452 27 2472 8 2418 18 2454 28 2474 9 2420 19 2456 29 2476 when follow focus units have difficulty due to interference, the camera dept often jumps on to other channels randomly. I have had the camera dept knock out my zax ifb often, in a challenged environment
  13. prior to giving up on 2.4Ghz, I would run audio cable, to video village, and place my ifb100 on the monitor cart. I would place my other ifb100 to another side of set, on another frequency. the erx receivers were set in voting mode, to go between the two frequencies. this was not foolproof. there was often one or more people that would be left out. on one show, the director had been a dp and he would leave the village and be with the technocrane operator. being between the two ifb100 transmitters and having the spread spectrum transmissions from the telex comms of the crane crew interfering meant that he couldn't hear program material from either transmitter. as soon as you remote an ifb100, you are also giving up being able to remotely control the body pack transmitters....which is one of the very reasons to buy into the zax system
  14. on more than one occasion, we needed a local "partner" that was named as part of the project. do check: http://www.dubaifilmcommission.ae/filming-in-dubai/how-to-film-in-dubai
  15. larry, many thanks for your detailed response. I had entertained getting the lectro vhf ifb system, but the price for 2 transmitters and 20 receivers was high for a system that I could not audition. about a month after I purchased the sennheiser ifb system, the duet was announced....
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