nevo

UPDATE. We did our first of three records a couple of nights ago..... I recorded analog into Scorpio fed straight from radio racks . Plant mics and music from X32...... I also took a Dante feed to the Scorpio and to Reaper. We shot on ARRI MINI and I Genlocked with USOs via LTC The Scorpio I jammed from USO then sync via TC.... Talked to editor and everything lined up to the guide track I put on ARRIMini. Thanks to everyone especially Nick for the advice Nevo

Have you done any walk tests using lectrosonics in mode3?....Financially I’m heavily invested in Lectrosonics so to buy A couple of Mcr54 to use with my existing Smqvs Smv, would be a great first step. Is mode 3 working well with lectrosonics now as I heard their were some unpleasant artefacts in earlier firmware. thanks Nevo

Thank you Nick for this detailed reply,I was hoping you might reply as I read some of your other threads regarding these types of jobs. I was initially confused with the shared WC/LTC port on the Scorpio but in my testing worked out the SYNC to LTC option.The plan in my head came a little unstuck when I realised the X32 doesn’t have a WC input and that’s when I thought to make the Scorpio the master....We have a tech rehearsal today so I’ll find out any gotchas. when you sync the ARRI MINI genlock to LTC, do you put in an offset in the camera ? Or do you just make the Editor aware of it? What kind of drifts are we talking about with reaper if it is running unclocked with 30 min takes.? I will try to hire in a RME DANTE or similar interface if I can find one. thanks to you and Phillip for your input NEVO My other thought is I’m going to be putting guide tracks onto each camera so if there are any sync drift it shouldn’t be too difficult to align the multitrack record .

The problem I’ve come across is the X32 does not have a WC input im happy that the Scorpio will be locked and the Reaper record is my backup, but it would be good to have everything clocked. I have convinced the camera dept to cut between acts so we will have around 30 min takes.

I’m going to use another ultra sync to clock the behringer

As I was writing this It came to me that I should perhaps get another ultra sync and use that as a master and feed LTC and word clock to the Scorpio.

Hi I wonder if anyone can spot any gotchas in my workflow for an upcoming shoot I’m recording We have 3 cameras shooting a theatre production over 3 nights. The play is approximately 90 min long. The cameras are ARRI mini, Amira and XT. I have 8 wireless and 6 wired sources running into a Tio Dante stagebox and then into a behringer x32 thru a switch to reaper on my laptop and also to the Scorpio. im also taking analog out from the X32 into the Scorpio so will be recording up to 30 tracks on it. My question is about Sync. i have 3xultra sync ones and a couple of Mozegear TiG I’m thinking I’ll put the Ultrasyncs on the cameras using LTC and Genlock and stripe LTC onto Reaper....The Scorpio will be the master. Can those Cameras derive their genlock sync from the LTC or is it best to run a second sync cable for Genlock. I haven’t used Dante before and it’s a bit of a learning curve. I am using Dante controller and DVS as my Interface. So far I’ve managed to get All Dante units talking to each other After some manual IP setting. im also planning to send a guide mix to each camera. Can anyone see any potential pitfalls or better workflows to record this show. As I say I’m a newbie to DANTE and most multicam shoots I’ve been on have been Drama , not long continuous rolls. Thankyou hive mind NEVO

I totally agree with Phillip......As a post guy and PSM......Leave it to the mixing suite with better tools for the job. I do agree that in a live situation or when you are on a no budget, editor is gonna mix it Gig or for your own piece of mind on the mix track......Putting it on ISO’s I think is a no no. just my two cents Ant

Turned everything off but receivers.....I’ve done some testing and some RF is introduced when I plug in HDSDI monitor. But that’s not the whole story I suspect......

Sounds like my day ... pretty much same probs as you....

20 and 26 ...

Yep swapped to venue and all was good. Its the intermittent nature that makes it difficult...I could send back to lectro and I’m sure the units would behave. live used same setup on a few days since and all totally fine. Quite frustrating and not having faith in your kit can be a bit unsettling.

Hi audio brains trust. ive had a intermittent problem with my SRBs This has happened 3 times now. Last week I was on a TVC with two talent and a boom on wireless. Sending a mono guide to camera with a LMA . CLIENT and agency on comtek pr216 . Used the Freq finder app to coordinate and ran a scan on RF EXPLORER The day was going fine ,talent about 30 feet from me....Had been recording for several hours no problem,then started getting dropouts Did a scan on SRBs and they have broadband interference like the front end is being overloaded. Did a scan on RfExplorer. Looks clean. I got my bigger rig out (664 and venue field ,same blocks same freq setup and zero problems. Later when I scanned SRBS again all totally fine and I’ve worked a few jobs since with SRB ,NO problems. This has happened 3 times....usually in the heat of the battle. The last time ...I tried to turn the bag TX off and the 633 off and rescanned re powered and the hash was still there..,on two different blocks 26 /20 I was thinking maybe 5G testing ? As they are rolling that out at the moment.but the RF explorer showed clean spectrum..... I am stumped! Ant The previous time it happened,I was on a travel show and had talent on a zip line doing a PTC. SMQV at 250 mw...I was getting about 200m clean audio line of sight,then all of a sudden dropouts at 10 feet and hash all over the scan Nothing changed in my setup.....

From someone who has been doing location sound for 30 years and Audio post for nearly as long. You would be surprised at how much EQ and compression etc we sometimes use to get the scene to flow I really don’t think these days the gear really makes much difference.Its all excellent.,but the room ,the costume the lav placement the individuals voice,the helicopter ,the dog the plane and the chainsaw do. Having a recorder mixer wireless rig that weighs next to nothing is very exciting for my worn out back and knees tho my 2 cents

I sometimes send the director their own feed (usually because the agency are 300ft away and my bst75 is at the end of its range),but often the agency creative director willl be sharing that feed so sometimes its a no win situation. I think the false take idea is a very good workaround solution for production paranoia. The workflow most of the time on the jobs I do, is the director wants the live take plus instant replay,which dictates feeding the transmitter from either the Qtake system at the video village or from the audio output on one of the monitors.

I hadnt thought of that....good work around

Very appreciative of this. I have asked on many occasions and had given up on it ever arriving. It would be great to have a shortcut to turn it off/on as sometimes the director may want to hear a rehearsal.

I run mine off a Np1 with a 12 v homemade regulator...... 1 batt lasts a full day

I worked with one last week Didnt have the audio input extension ,but took TC without any futzing .... Has a built in crappy mic . Didnt hear anything back from post so I guess it all synced up fine. I didn’t hear the fan .

Real world I’ve done exactly this and get a solid 200-300 metres Sent from my iPhone using Tapatalk

Yes muteable aux in standby,I've also requested but nothing in the last 2 firmware upgrades..... I've built a little switch box with a flashing LED But the software version would be great Sent from my iPad using Tapatalk

Is anyone using the unbalanced 3.5mm output to 2x TA5f and into lectro TX..... If so ,Does it work ok,interference wise Sent from my iPad using Tapatalk

I work mainly in tv commercials and drama...... 90 percent of my jobs shoot on Alexa......Very rarely do we have any issues.There used to more Red shoots but , it's a rareity to see one these days. Mostly it's owner operator shoots...... Just my day to day experiance Sent from my iPad using Tapatalk

Yep.... too much choice these days in the digital world.... when we were shooting 35mm film Scenes were heavily rehearsed for camera moves.... Which was a great help for the boomThese days we shoot the rehearsal and I rely a lot on the wires,Add in 2 or 3 Cameras wide an tight Makes for fun times ha Sent from my iPhone using Tapatalk

I'm intrigued to know how the track counts are getting up into the 12 track mark especially in the TVC world. I'm mainly doing commercials and mostly use my 633 with the 664 as backup.... I very rarely need any more than 6 tracks.Even with the quite decent budget 2-3 cam US drama I've spent the last month on I didn't go over 8.... This is relevant to the topic as the mixer I'm looking at is 8 channel and the surface is 12 Cheers