bendybones

any idea when erx3 is shipping?

interested

I'll have to check mine. I've never used returns 3 & 4.

Mine varies, it is on any and sometimes all of the returns 1-4. In different amounts.

RET4 causes the ticking.

Actually that´s where it will be audible. Don´t know what causes the ticking really.

Ive always had s ticking on my returns. Had two units. Don't remember if it was on the first unit as well. On this newer unit I have replaced pretty much all the components at one time or another for various reasons. At least once. Ticking still there. So I only use the returns for camera monitoring and loud consistent stuff.

Keep in mind that Zaxcom recorders are much less fussy about recording media than other machines. But the simple answer is to just format the card, engage all the tracks and record a test file for 20 minutes. If nothing locks up and all plays back you should be fine with the card. If a card has an issue it will usually be obvious pretty quickly.

Top tip. Thanks

I still don't understand why one would not send TC to the DSLR's audio track.

It's the most "situation-proof" way to do it.

If post can't deal with audio track TC, well...they better learn how to deal with it.

Come on, there are plugins for that that are really easy to use.

 

Preferrably use a sync box. A wireless TC link can lose signal due to RF hits, and wifi has not been designed for real-time transmission.

 

Shooting a TC display at the beginning of each shot is asking for trouble. DPs will, in the heat of the battle, forget to do so. The concentrate on other things, and sometimes the situation just calls for shooting NOW and not 5 seconds later.

I bet that this TC display will end up in less than 10% of all shots.

I agree 100%.

Except one small point - TC from an ERX doesn't suffer wireless dropouts. 

WiFi signal is used to rejam.

In the absence of this it continues to output TC, and seems (to me) to stay steady for long enough to let it come back into range.

[Edit: John got there before me]

I've scratched my head often over the years, as Zaxcom clearly, and repeatedly, established that Transcend and SanDisk were recommended

Indeed John. I am aware of that recommendation.

Transcend and SanDisk are not always on the options list however. 

For example in a short-notice situation.

That is the reason for the question. To know of options (or non-options) in advance of their being an issue.

Glad to see the 128GB in there.

 

I've been looking at the 128GB and the 256 GB for specific situations.

Three years ago Jack started asking Nomad users which cards they found good/bad.

 

Most people used Transcend 32GB 133x as they had proven themselves during Jack's beta testing of Nomad.

 

I'd like to revisit that survey in the hope of hearing many more brands and speeds recommended/condemned.

 

Include microSD for Zaxcom body pack transceivers, as well as Nomad Primary and Mirror.

Mention good or bad experiences.

 

I'm happy with these for 3 years now... 

 

Primary:

Transcend 32GB 133x

 

Mirror:

Transcend 32GB 133x

Transcend 16GB 133x

 

No fans.

Good prices.

 

Processor specs seem low.

 

What do we all think of these processor specs for 8 track recording?

 

http://www.apple.com/macbook

https://www.youtube.com/watch?v=lxtN7aD6iTI

Interesting.

A little disappointed to hear that a bluetooth dongle is needed.

BT has not been reliable in my experience of it so far.

 

Had hoped the phone/tablet could connect by USB cable to the serial port.

Which scuppers the 'remote' aspect but it would keep the most important (to me) element - the ability to smoothly control transmitters without getting into Nomad's menu, tying up faders, or hitting tiny buttons on a QRX.

 

Still cool tho.

Looking forward to seeing where it all goes.

Great test. Thanks.

Have you tried comparing them in the open air / line of sight?

Cheers,

Evan

Not yet.

Still waiting on more antennae to arrive.

Then I'll do more tests including open air line of sight

 

These are on their way:

http://www.ebay.co.uk/itm/2-4GHz-5dBi-Omni-WIFI-Antenna-SMA-MALE-for-wireless-router-/290848539329?ssPageName=ADME:L:OC:IE:3160

http://www.ebay.co.uk/itm/2-4-GHz-5-dBi-Omni-wifi-Antenna-BNC-for-wireless-router-/300479593163?ssPageName=ADME:L:OC:IE:3160

http://www.ebay.co.uk/itm/290607815327

http://www.ebay.com/itm/U-fl-to-BNC-female-with-nut-pigtail-cable-/330313219623?ssPageName=ADME:L:OU:IE:3160

 

Point to note.

There is a giant radio mast on my property.

 

Not sure what it transmits but I believe a telecom company is up there and some kind of node/relay for emergency services.

 

Obviously not 2.4, but busy air none the less.

For those interested, I just received and tested the antenna mentioned above.

(http://www.digikey.c...rds=931-1119-ND)

Two of them.

 

Simple walk tests in and around the house.

Nomad to ERX2TCD

Power: 7

Freq: 2404

 

Old building.

Thick brick walls.

Nomad on a table near a wall

 

Tiny antenna:

Signal gets thru 3 walls into yard and a further few paces before dropouts.

Approx 20-25 paces altogether.

 

Nomad stock antenna:

Gets thru these walls + a further 20 paces.

At this point I am getting into parked cars.

I believe if the cars weren't there I would get still further before dropouts.

Result was same with and without RA adapter

 

The tiny antenna is easily enough for some jobs.

I will be using that until i run into problems.

 

I also tested the tiny antenna pointing down (which precludes strain on the SMA)

Very very slightly better.

Difference of a maybe 3 paces.

Since you have a Nomad, you could also talk to the camera ops about its visual slate, which would sort of eliminate the TC slate but require them to shoot your display at the beginning of each take, hence bad for sitdown interviews, good for run n gun stuff. 

Thanks.

Shooting Nomad's TC display every take won't be possible due to the nature of the shoot.  

 

However, Chris Bollard's experience of 5D (above), suggests that every 3-4 hours is enough (for cross referencing with cam TC to calculate an offset).

Manual labour, but better to have it as a backup than not.

One beauty of DSLR filmmaking is that those cameras, although they have terrible inaccurate clocks, can't roll for long enough to get very far out of sync (30 min).  I think what the OP proposes is fine, if post is on board with it.  If post isn't hired yet, then you and the filmmakers decide and post deals with it!  One thing that hasn't been mentioned is the need for very clear notes from you, hopefully entered into the audio file metadata, about what is being shot.  Names, locations anything to help the posties identify what's going on.  Audio filenames that make some sense (like being the name of the interviewee or the name of the event), and then organizing your notes into a clear sound report for each day's worth of files.  There are several options for sound SYNCING anymore, but supplying post with as much info as you can will really help them in understanding and shaping the footage into a movie.  Especially since post isn't on board yet, I think it would be a very good idea to have your reports and logs be in file form--uploadable, emailable and storable on the media with the audio files themselves. 

 

philp

 

This is something I've been giving some thought to.

I certainly want to nail the notes. 

 

On the one hand I thought to use SoundReportWriter so as I can make the notes more comprehensive.

On the other hand that leaves the notes even more separated from audio, which is uncomfortable considering post/editor is not yet onboard, and we will be abroad with no cellular coverage (i.e. relying on hotel wifi later that evening).

 

I have also considered reserving a Nomad track for slate mic notes.

Usefulness vs card space - to be pondered...

 

At the moment the track count is looking high, considering the potential to roll many hours in one day.

This is because I have been asked to lav the interpreter and director (as well as up to 2 subjects). 

In the upcoming production meeting, I will establish if this is really necessary. My feeling is it is not.

If that is the case and we can lose two recording iso tracks, i may consider putting a track down for slate mic notes

if you set TC on the 5D - then shoot the TC display every 3-4 hrs. Post will then be able to calculate the offset between the camera and your recorder. This shouldn't drift too much and if you do it 3-4 times a day you should be sweet.

[...]
Travel light if you can.

The TC screen on the Nomad will serve both of those needs nicely.

I've been looking forward to incorporating that little guy.

Holding good for 3 to 4 hours is much less drift than I had expected from a 5D. Excellent news!

Thanks guys!

 

I'm certainly looking forward to testing out the Plural Eyes and AuxTC workflows, especially with long takes.

And hopefully being impressed.

I'll report my findings.

 

Good to hear ERX TC level steps will be flexible enough for what I need. 

 

Unfortunately budget is now going to allow for a TC slate.

I will get a dumb slate in at every opportunity.

 

2moro I'll research TC Slate apps, and their accuracy.

In the meantime if anyone knows a TC app that works well, I'll start there.

 

Cheers

Hi all,

 

I have been asked to do sound on a 5D shoot.

- Mk2 or Mk3 (TBD).

- Sometimes a pair of 5Ds.

- It is documentary.

- We will shoot in Armenia.

 

- No post house on board yet.

- Editor not yet confirmed.

- Likely to stay like that until we return from Armenia.

- First production meeting Saturday.

 

I have some obvious concerns about sync.

- I have only one Lockit.

- My pair of Tentacle Sync boxes might not arrive by then.

 

So plan is: ERX on each 5D;

- 5D Left track - scratch mix (for PluralEyes)

- 5D Right track - TC (for AuxTC Reader)

 

For the interviews this seems fine (they will be boarded)

For the event coverage (marches, concert etc) where cams will cut & roll at will, I plan to roll a continuous take on Nomad, as much as possible.

 

I’ve downloaded trial versions of both programs to test the workflow, when I get my hands on a camera.

Questions:

 

- Could long audio and/or video takes cause problems with this sync set up?

 

- What is the appropriate way to pad down the TC for 5Ds mic level input?

 

- Any suggestions for improvements to this (provisional) system?

 

- Anyone done this before care to share their findings?

 

Many Thanks,

B

We had the "c" or compact preamp sent out to us on a shoot.

 

We found that with moderate wind, and also the generator (albeit very close to set) would render the mic unusable.

Sounded like the LF was saturating the pre/capsule.

 

Very disappointed after much anticipation.

No time was was wasted in sending it back IIRC.

 

Would love to know that this is not the rule but perhaps a freaky unit.

In the above situations I had the 4017B in the other hand performing perfectly, while the 4017C preamp was clipping.

This was in the presence of LF rumble (generator, traffic, very handle-able wind etc).

 

As I said, I'd love to know if this is typical 'C' behaviour or a bad unit, but unfortunately pvanstry's findings seem to confirm mine.

 

Also, thinking back now, the dealer it was returned to was familiar with the problem.

 

Perhaps there was just a few bad units in an early production line?

Would be great to have it as an option but either way, I do love having the filter rings of the 'B'.

I use a small cage to protect the antenna from pressure.

 

2015-03-11 18.51.49.jpg

Nice job.

had been considering something like this myself.

How is that secured to the Nomad?

I Wonder how these would work for zaznet... $8 at Digikey...

http://www.taoglas.com/images/product_images/original_images/FXP831.07.0100C.pdf

Not sure how well it would work but looks like a hassle physically to deal with.

Thanks folks. I'll check with LSC and report back if i find anything.

Thanks guys. Great pics.