api

Ahh, found another picture.. they are just hirose style aux power out connectors.

Could it be that the audio module and timecode module are actually included in the price? Maybe they are removable just to make room for a 3D rig setup? In this picture there appears to be some sort of module between the camera and the battery: pic.twitter.com/RGPCiVkO Those look like 4 pin Sony style connectors though, not XLR3 connectors.

By the way, I know that there is also a little known separate pro version of the transmitter which offers the ability to switch low cut filter off. It also the ability to be externally powered and has a multipin connector for the mic. EDIT: oops, I misread.. it's only the receiver that has the external power option. I agree. The battery door on my receiver just fell to pieces at the most unfortunate moment. Luckily I was able to find all the parts and tape it together. The dealer supplied a spare part for free. He said he has a boxful of them. CH69 is a no go here in Finland. I've been looking at options to upgrade myself. I'd like to get something with AES outputs on the receiver so that cuts down my options quite a bit. It's pretty much Zaxcom or Sony DWX.

I have a single channel EN2 system. I've been quite happy with it, although it is not the diversity version. The only time I had a real problem with it was at an eucalyptus plantation while shooting close to a forest harvester machine. I'm not sure if it was the heat, the humidity, the range, low batteries, bad connection to the camera or what, but there simply was no usable audio. I'm looking to upgrade to Zaxcom, Lectrosonics or Sony DWX series myself. If you want to have a look at it, drop me a line. I'd like to get a closer look at a Nomad myself.

Sony has introduced two new models in their Cine Alta-series of cameras, F5 and F55. F5 is a significant upgrade over F3. F55 is positioned below F65 in the product line. The audio inputs and timecode are on separate modules. IMHO, they really did their homework on this one. I think that these will sell like hot cakes. To quote: "The connections you need The camera offers vital connections, including four HD-SDI jacks, HDMI®, USB, DC IN connection, a removable XLR audio module and a removable time code/genlock module. The XLR inputs accept balanced analog signals, provide 48-Volt phantom power and will accept four channels of AES/EBU digital audio with an expected firmware upgrade." www.sony.com/35mm

Thanks, it does indeed look exactly like UR1M. I wasn't familiar with that model. It is surprisingly expensive for a system that uses a compander!

That is actually why I am asking. I also thought they were DWT-B01, but the white text on the bottom of the unit does not look as wide as in the Sony unit. The display looks like LCD instead of the OLED display on the SOny.

I noticed that Phil Schiller and Tim Cook were both wearing dual wireless bodypacks when they were doing the recent Apple iPad Mini webcast. I wonder which particular model or brand they were using?

On the specs at reduser.net it says: RF ISM Band Transceiver 865MHz/915Mhz for wireless audio and timecode I think that 865 Mhz frequency band is normally reserved for RFID applications and SRD860 walkie talkies(!?) That is quite mysterious. From Wikipedia: SRD860 In Europe, 863 to 870 MHz band has been allocated for license-free operation using FHSS, DSSS, or analog modulation with either a transmission duty cycleof 0.1%, 1% or 10% depending on the band, or Listen Before Talk (LBT) with Adaptive Frequency Agility (AFA).[1][2] Frequency Duty cycle ERP 863-865 MHz 100% (wireless audio) 10 mW 863.0 - 865.6 MHz 0.1% or LBT+AFA 25 mW 865.0 - 868.0 MHz 1% or LBT+AFA 25 mW 868.0 - 868.6 MHz 1% or LBT+AFA 25 mW 868.7 - 869.2 MHz 0.1% or LBT+AFA 25 mW 869.4 - 869.65 MHz 10% or LBT+AFA, 25 kHz channel spacing 500 mW 10% or LBT+AFA 25 mW 869.7 - 870.0 MHz 100% (voice communication) 5 mW 1% or LBT+AFA 25 mW

Yes, I agree. My point was that since the limiter in 664 is in the analog domain and it is available on the signal path, it means that there has to be a D/A + A/D round trip before the ISO track is recorded. On the other hand, the limiters on PIX are available only on the analog inputs, but not in the AES inputs. That indicates that the topology of an AES input on the PIX series is perhaps all digital.

This is how SD 664 works, but I'm not sure if that is the case with PIX. In 664 the analog limiters are usable also on AES inputs and the signal is indeed converted to analog and back to digital before the DSP. I'm under the impression that the signal topology in PIX has more in common with the 7-series recorders than the SD field mixers though. There is a possibility that it is all digital when using AES inputs. Well, it doesn't really matter to me as long as there are no practical implications in the recorded sound quality. I guess SRC inputs "just work" and I shouldn't worry too much about the whole thing.

Yes, Pix 240 does have SRC inputs. It was a bit unclear to me how they operate if the input sample frequencies are nominally the same as the recorded sample frequency. Is it correct to assume that SRC inputs continuously digitally interpolate the incoming bitstreams to sync the signal to the internal word clock of the recording device.. even when there is a word clock embedded in the AES3 input signal? Is that what is meant by "digital resampling"? EDIT: I guess what I originally wanted to ask is: Are AES3 inputs with sample rate conversion aurally transparent when using multiple asynchronous 48Khz/24bit AES3 sources on the PIX240? Are the SRC interpolation artefacts audible with typical location sound material such as dialog?

What kind of audible artifacts, if any, might appear if I wanted to record three separate ISO tracks on a recorder like Pix 240 using two different AES3 input pairs that share the same sampling depth and approximately same sampling frequency (48Khz/24bit), but are not synced to the same word clock? As a practical example, let's say there was a boom mic connected to input 1 via a MixPre-D and a Sony dual channel DWX series digital wireless microphone receiver connected to input 2. The Sony receiver has a word clock input, but MixPre-D doesn't have one. Let's say there are no word clock sync cables connected between the devices at all. It is difficult for me to understand which one of these devices will act as a "master clock" in such a set-up and how in practice will the recording device compensate for the slight drift in the sampling frequency between the two inputs. Will there be audible "jitter" on one of the tracks or is it more of a theoretical problem?

The thermal output of Red cameras really is very considerable. You could practically dry your hair with the exhaust airflow! Alexa has a much less computing intensive compression scheme and a much larger camera body that dissipates heat more efficiently in addition to a peltier based cooling system. Epic and Scarlet are practically unusable in some situations such as non-stop interviews, acoustic live performances, intimate documenteries etc. If this accessory makes them realistic alternatives in such scenarios, it is almost the equivalent of getting a new camera. It is a very attractive proposition to an owner/operator. Yes, it is ridiculous that one has to buy an expensive accessory to "fix" a problem that shouldn't be there in the first place, but on the other hand one might ask if a Rycote style windscreen should be a standard part of a microphone retail package instead of just a foamie? I am really looking forward to this product. I also want to applaud Patrick and Jacques for coming up with an actual solution to an acute problem.

I pre-ordered one. If it works as advertised it's well worth it.

It's worth noting that Epic and Scarlet can only output HDMI or SDI, not both simultaniously. I've got a TV Logic VFM-056WP which also has a SDI input. It's kind of pricey though. If you plan to use the monitor in daylight, you might want to have a look at special daylight monitors usually used by Steadicam operators. Standard LCD monitors are very hard to see in daylight, but you can buy a hood for them.

That is fantastic! This sounds almost too good to be true. Will the tx option be available with transmission power limited to 50 mW for use in Europe? (Edit: Oops, didn't read the full thread.. adjustable from 10 to 100 mW, I note.)

After a year of procrastination, I finally took the plunge and purchased the CS3e. It is my first high quality shotgun microphone and I really don't have that much experience with other microphones of this caliber. I was surprised how sensitive it is to air movement, but luckily I had purchased a Cinela Piano earlier this year and with the windshield cover on there is absolutely no air movement noise even during relatively swift motion. The boom handling noise is very minimal with the Cinela suspension, but I did decide to engage the low cut filter on the microphone anyway. On-axis / Off-axis transition is very different from what I've heard before and the general tone is somehow much more dimensional and it sounds almost like a stereo recording compared to the mics I have used before. Compared to Sennheisers, there is obviously noticeable self-noise, especially when listening on the headphones, but I don't find it to be at problematic levels, even in quiet environments. In my opinion, the pleasant and highly isolated sound quality of the microphone more than makes up for this shortcoming. The lack of proximity effect and all the other characteristics that seem to have been designed to provide maximum isolation of the intended sound source really do work and make it much, much easier to work in many kinds of difficult, uncontrolled acoustic environments. All in all, my first impression is that this is a precision instrument that is also highly practical once you get to know exactly how it works. My gut feeling is that it is one of the best audio equipment purchases I have made.

Have you had a look at Sonosax MiniR82 yet? It is very expensive though. http://www.sonosax.ch/recorders/minir82/minir82_index.html

Hmm, I'll do some tests, but perhaps there indeed is a one frame offset. I have shot at 25 fps with 1/50 shutter speed mostly using an external mic. Firmware 2.0.9, I think.

I suspect that it is an FCP X issue. Have you had a look at the clip on older versions of FCP or Quicktime Player 7? I have used Compressor 4 for transcoding Canon 5D MkII clips to Prores and I haven't had any sync issues with in-camera sound.

As a side note: Have you noticed that iPhone periodically "jam syncs" it's internal clock to the signal that it receives from the cell phone base stations? If you stop and start Jumpstart LTC within, say, 30 seconds, there is occasionally not only a small drift, but a clear jump (1/10 seconds or so) if the phone happens to switch base stations or re-sync it's clock during that time. You can compare the accuracy of the internal clock of iPhone to the signal from the NTP time servers with a free app called Emerald time: http://emeraldsequoia.com/et/index.html I am not sure if putting the phone in flight mode would alleviate this problem or if it really is a problem at all... it's just something I noticed when I was trying to figure out the accuracy of iPhone's internal clock. It is not an issue if you keep Jumpstart LTC running continuously on the foreground because it uses iPhone's internal clock only in the beginning when it starts generating the TOD timecode. -- api

I have the Konnoc KCR-A099 charger. http://www.konnoc.com/en/product_details.asp?id=1301 I've been using it with standard and XX Eneloops. I am quite happy with it, but I am looking to upgrade it to something that has a capacity analyzer and switchable charging current. One model I have considered is BC-900 by Lacrosse Technologies, but I haven't found an European dealer for them yet. http://www.lacrosset...m/900/index.php

I've shot with both EX1 and EX1R. I am not 100% sure, but I think that EX1R has the limiter enable/disable option in the menus and the EX1 does not. One of the major differences between the models is that EX1R doesn't have the infrared bleed problem which sometimes turns black synthetic clothing into reddish-brown color with the EX1. I am under the impression that they did make quite a few other technical changes behind the scenes.