Rob Lewis

This makes it a no go for me. The size is incredible but I have a Major, Major, Major client that uses the cross jam work flow. The workaround is to set the Tentacle to Master and jam the recorder, Sound Devices recorders will cross jam. But may times the master clock is a Denecke GR-1 or 2 set at the recorder frame rate and the sync box has to cross jam. Same issue with Timecode Systems equipment. for all other clients its a non issue. Seems like Ambient, Mozegear, and Denecke have it right. Its a dying workflow but cross jamming should still be integrated. Because of this I own Timecode systems equipment, Denecke boxes, and Zaxcom ERX's. There are too many workflows out there!!! Its just sync...

I need a Rx200 box ASAP! Who has them In stock?

Would anyone care to share a ballpark rental rate for ERX2TCD Scratch and sync feeds? I can't find any rates from the rental houses (dealers, not VER). Much appreciated! -Rob

Do they want sound or do they want wireless video. Cant have both.

Willie O'bryan and I did that wire! It was a lot of fun!

Its always a camera problem because sound is the master clock!

ARRI Botched the audio on these cameras. They are not true line level. Supposedly the audio boards are being redesigned for the 30 that NFL Films purchased. Don't know about the rest of the world....

This would be perfect for reality TV when the producers introduced cast members in scene that they didn't tell you about, who are friends of the cast that you don't have Mics for, but feel that their conversations would be good story. You can throw the molecule Mike on them as they walk by and dial them in to your over the shoulder bag and your 976 channel recorder...

Thomas Mumme at Blue Juice Films is the mixer. I believe all wires.

It's all good. Cable is working fine, and I have wrapped a ferrite bead to assist in removing the Zaxcom wine from the line. Should I use the right cable, yes. Will I pay $66 for the correct cable when I can make one that works fine for $4? No. Thanks for the info fellas, much appreciated.

Senator, Yes and yes, and after trial and error, I figured it out. Pretty simple, but because I'm burned out right now, the brain did not engage. To Tom. I have no Idea why i want to do that, but I made it work anyway... 633--------------------ComteK tip----------------------Tip Ring-------------------Tip Sleeve-----------------Sleeve Thanks anyway fellas

Yes already did a search. Search does not work on this sight. I need to wire a cable to feed Aux 3 and 4 on the 633 to a Comtek M217P7 transmitter. I have tried many configurations and have wasted a lot of time and only get Aux 3 to the Comtek input. I hate professional devices that have unbalanced inputs. I have also confirmed that aux 3 & 4 work properly. If someone can share the proper pinout for this, I would appreciate it. Thanks, Rob.

Search is horrible lately, re directs me elsewhere.

But do you really want to risk messing with the machines slot and screwing up your recordings or locking up your machine.

Do they want good sound or good notes. Can only have one. I told a producer NO today who asked me to take photos with his camera for the clients social media web site while I was mixing a Q&A press conference. Some jobs aren't with the unreal expectations.

Matthew I hear what you are saying, but I don't want the shoot be hostile and uncomfortable. The crew has to work as a team. I just don't understand why these days there is so much hostility between camera and sound. Maybe not at the big budget feature level, but at the Doc, news, reality level there is lots of it.

Chris I agree, it should not be my responsibility, but I'm a perfectionist and make sure its right if no one else cares. Thats why the phone keeps ringing i guess...

Good on Jim! I'll use that on the next one. Thanks Mark! Sometimes i will get labeled as a curmudgeon by camera because I fight for the sync boxes. The job i mentioned above was one that all cameras but the F5 were using AJA KI Pro Mini recorders externally. Since these don't record with free run code unless manually triggered they wanted to use REC RUN so they could auto trigger the external recorder. I fought it everyday, making them push the REC key on the external so we could be on free run. The camera ops didn't mind and I know the producer will thank me.

The reason i ask is I just got off of a 4 day job with a miss mash of cameras. F5, 2 EX3's, F3. Of the 3 cameras 2 of the ops bitched about having the SB3's on the cameras. I told them it was not their decision and was part of the requested workflow of the producer. When they went to shoot b-roll, they would strip the audio and timecode gear off the cameras even though I politely asked them no too because it would risk mistakes if we had to go back to an audio situation. Please keep in mind that in the bag, Doc world we don't often get prep days and sound usually has to provide sync boxes because the producers don't have a clue about technical work. They just want to be able to sync everything. When Im supervising a large project (Reality show, yes reality) and the gear is coning from said rental house, I request each camera be provided with a sync box (since they aren't renting mine). If the show won't pay for it, the camera gets jammed and they can pay the editor way more than sync box rental to fix the drift issues.

After reading many of the discussion about some of the new products that are smaller and lighter, in which many of them are awesome, is it really a necessity to play the game of constantly spending thousands of $$$ to swap out perfectly good timecode or wireless devices to cater to the camera departments incessant whining about these necessary workflow items mounted to their cameras? Things like sync boxes and scratch feeds or 2 channel audio feeds are the same a the lense on the camera in my opinion, and must be mounted on the camera to do the job properly. I own 2 SB3's, 2 ERX's, and a Timecode buddy combo. Am I now expected to trade up and spend money on TIG q28's, and timecode buddy receivers in order to make camera happy, all while the client complains about the gear rental cost? Im not a film mixer, just a bag guy that does commercials, Docs, News and reality work. I have the tools and the skills, so I guess if the camera department wants tiny and light they can buy it themselves and I will be glad to jam it. How do other feel about this?

NFL Films records audio at 29.97NDF, but all there cameras (no longer shooting film) Arri Alexa, F55, Amira shoot at 23.98 and will barf at any other code into them. Standard OP is to set recorder at 29nd and Denecke sync box at 23.98 and cross jam.

As bag mixer we take them on and off quite a bit and having things strapped to our harness is not ideal. Unless the mixer uses a strap or is able to take the harness off with the bag attached it will be problematic. Food for thought.

Thanks for the info Jack!

Jack, are those crimp on BNC's? Making cables for my ERx's and need to source those.

Getting there Philip, they are close.