Alex Mitchell

I mean, I already have a ton of ERXs for this kind of setup but I'm not a fan of using those with the FS100 & 700, the C100 Mk1 & 2, the BMD cameras that aren't the Ursa or Ursa Mini, etc. The 1/8" connector has failed me way too often and I'd love to start relying on something like this instead.

When I'm shooting with DSLRs or other prosumer-grade cameras I usually just use an ERX and sent TC out on one channel and scratch out on the other. I'd really rather have a more purpose built hop, like the RX200, but my concern is that I'd need to build complicated new cables to supply TC from the BNC and audio from the TA3. If the RX200 could send audible TC over, what I'm assuming is, the stereo TA3 output that'd help keep cable clutter down.

One thing I'm wondering is if it'll be possible to rout TC over the TA3 for cameras without a dedicated TC-in.

Nomad Touch only supports Windows 8.1? Goddammit.

I was just about to send in my original, un-serviced Nomad 8 for a host of updates. This is going to be the icing on the cake.

Always good to have more players in the game. Wonder how it compares with the Sennheiser Evolution series.

Shucks; wish I'd known about this. Justan and I are both members here and both working mixers in YYC with full production kits.

For starters, there's no reason you can't do both. Second, this is the best way to maintain sync, period. It saves loads of time in post production and I've never had a problem with it in a year of working with BMD cameras.

Philip hit the nail on the head with a lot of his points. I'm going to share a workflow that I've developed based on BlackMagic Design's recommendations, and every client that has come across it has loved it. The gist is that you sent a timecode feed to audio track 1 and a scratch feed to track 2 and then use Davinci Resolve Lite to sync. Gear required: - Zaxcom IFB Tx - Zaxcom ERX-TCD (v1 or v2) Steps: 1. Fork each channel from the ERX on to its own 1/4" end. TC should go over left tip and audio over the right. 2. Set output volume to a maximum of 0dB and TC voltage to 0.031. 3. In the camera, set the audio input level to Mic, with the individual inputs to 75% (May be higher or lower depending on the camera but that is what is working for me these days). In post production it is ridiculously simple to make this work. All the client needs to make it work is the free version of Davinci Resolve Lite. Once they have all their footage and audio in the media pool they: 1. Right click on the video files and select "Jam TC from audio track". 2. Right click on the video files and select "Sync Audio from TC". And they're done. It's a very simple, very painless process and it works incredibly well for virtually any camera; DSLRs, Prosumer bodies like the EX1, or even RED cameras if you're up shit creek without a four-pin lemo adapter. Now, while I think that Mike is being a tremendous asshole in this thread, he is right when he says that your client needs to run tests to make sure that this workflow works for them. Otherwise you're just causing more problems.

Why the hell can't camera makers include a market at -20? No one uses -12.

Updated with some things I tried with the ERX-TCD + BMPCC combo. PSA: Davinci Resolve can read and stamp audible timecode! This is such a life saver for BMD camera or DSLR shoots and I never knew about it until last week!

Hey guys! After an afternoon of testing I wanted to share some settings that worked well with a BlackMagic Pocket Cinema Camera in various scenarios. I have one done right now and I'll hopefully get more time to sort out the others. Scenario 1: BMPCC + Tascam DR-60D To get a good signal out of the pair you need to use the following settings: DR-60D: 1. Use the Line Out instead of the Camera Out. The hotter signal works much, much better with the BMPCC. 2. Crank the Line Out level to 10. BMPCC: 1. Set the input level to Line. 2. Adjust inputs 1 & 2 to 15%. That should give you a proper connection between the two. You'll have to do some more setting up to make sure that the input gain (Low, Med, High) produces a good enough signal on a per-input basis but I usually get good results from sticking with Mid. Scenario 2: BMPCC + Zaxcom ERX ERX: 1. Set Max Volume to 0db, and make sure that the ERX only outputs at that maximum volume. 2. Set timecode to output on the left channel 3. Set timecode voltage to output at .032 volts. BMPCC: 1. Set the BMPCC to Mic level input. 2. Set both channels to 75%. This should put both the timecode and tone at -20. The nice part about this is that Davinci Resolve can actually read audible timecode and stamp the file, then sync with production audio. It's not the most elegant system but it does work. Scenario 3: BMPCC + Zaxcom Nomad (1/8" TRS) [To be filled in] Scenario 4: BMPCC + Sennheiser G3 [To be filled in]

Awesome! Can't wait to test out the new firmware/modulation. Over the summer I bought: - (2) QRX-100 (dual mode) - (2) TRX-900LANCs - TRX-742 And I've been really happy with them. They've served me extremely well. If there's a hardware upgrade path then I'll probably take advantage of it--otherwise I'm excited to have gear that is more capable than the day I bought it.

I can't see the video now. Did it get removed?

I was so happy when they added the input trim calibration. The only problem I have is that one input is, like, one pixel off. Still works fine for what I need it to do but it makes me twitch.

With all due respect to the camera department, I would be beyond uncomfortable giving them a piece of gear that controls any of my equipment. Most of those functions wouldn't be accessible to me either because I only ever touch the slate to jam it twice a day. TRX record start and stop on the sticks closing sounds like a nice idea in theory, but people fidget with the slate all the time. You'd be rolling on the TRXs a lot more than you should. Also, how do you use the slate to cut at the end of the take? Not to mention that you wouldn't want to make the TRXs roll at the clap because then you wouldn't get the sound of the sticks closing on the recording (unless there was a pre-roll, which the TRXs don't have). I like the concept of it being a timecode relay though. I could see that being something that might come in handy.

I recall seeing some news a while ago about how there was some TS-3 update coming that would allow a TS-3 + ERX combo to have more functionality, but I don't know where that went. It'd be a pretty cool piece of kit though!

So you're saying the CS-3e is still the better mic then?

I love my PCM-D50 for stuff like this. I even have a little kit I've built just for it.

Hey guys! I'm being brought on to a project that is going to Vietnam in late January and I wanted to check and see if anyone here has worked there. Things I'm wondering: 1. Wireless considerations. Are there any blocks banned? Is the maximum transmission power limited by law? Are certain blocks really congested? 2. Carnet. Do I need a Carnet to travel with my gear? I'm leaving from Canada if that makes a difference. Thanks for the help guys!

I think I'd put some nice black SD rotary fader knobs on it but otherwise that is EXACTLY what I want. Now I just need to figure out where to shift everything to in my bag to make room for this...

Just picked up two TRX900LAs with NeverClip and a TRX742, and I'm going to be trying them out on a feature this month! I'll let you guys know how it goes.

It boots up pretty fast so I'm having trouble figuring that out. Is there a way to slow down startup? [Edit] Never mind; it looks like I'm running 2.13

Hey guys, I just bought two QRX-100 receivers and I'm trying to set up one for my 742 and one for my my two 900 transmitters. I'm looking in the extended menu for the RX Mode option and can't find it anywhere! Again, I just bought these QRXs from Trew Vancouver this week, so maybe they're running a new firmware that doesn't have a manual on the website? And yes, I've left a message with Zaxcom and put a message on their forums. I feel like I might get a faster response here though.

These are out in the wild now? Awesome! I'll call my Trew tomorrow!