Mark Vesterskov

I've seen the same thing happen with my Sennheiser G3 hop. Away from the camera, it has a range of 30-40 meters - on the camera, it is maybe half that. On top of that, there are rf spikes that gives dropout hits once i a while. Did you use a wireless follow focus? I've heard that they can be a source of RF-nastiness as well..

Just bought it, and did my first test-recording of the fireworks yesterday. So far I'm really happy with it, it sounds great. My only two cents of annoyance are, that the pots are too loose and undented, so it is hard to set a stereo pair of mics to the exact same level. I'm considering modding it to add a stereo link button. The VU meters i don't trust at all - peaks on the meter is maybe 20% up the (unmarked) scale, when i hit -10 on my Tascam DR-40's meters recording the line level output.

Haha, Philip! True, it does look a bit like a set designers wet sci-fi-dream. I'm working on a high quality stereo rig, to be small enough to carry everywhere, and I'm searching for a good, low-noise, high quality two-channel mic preamp, that is smaller than the 302.. Any ideas?

I think the issue lies in Logic, which is primarily a music prodution DAW and not suited for post production. Pro Tools supports this natively, just by importing a poly wav file to the session, and dropping it on the timeline below the existing tracks.

Way to revive a 4,5 year old thread!

If anyone in Europe fancies one of these babies, then theres one on BBlist: https://www.bblist.co.uk/item.php?item=58172

I did some less-than-scientific-although-interesting tests a while ago:

I'm currently working a feature with a set of the 1st-generation Bolt Pros. 1 TX and 2RX, one for me, and one for my Boom-op. Low budget stuff, so a lot of the times we are doing three or even four moves in a day, so the added flexibility of no cables is lovely. The boomie loves it, especially when the DOP decides to reframe midshoot without warning. Boom-crisis avoided. The TX is mounted on top of the 1st ACs monitor, which is fed by a current-generation Bolt 600 system and powered by a V-lock battery powering both Teradeks and a 9 inch monitor. 2 AC handles battery changes, so no extra work for me. Range is a major issue. Anything beyond line-of-sight or 15+ meters will give, at best, artifacts, and, more frequently, complete dropouts. This is usually not an issue, since the 1AC and my boom operator are very close during takes, with me placed near video-village; so a lot of the times, i just pull a cable to avoid fiddling with the Teradeks. You could say that cables defeat the purpose of wireless video, though.. The Teradek is, beyond very short-range, extremely noisy RF-wise. Two scans shown below, only difference being the Teradek RX in my bag being on or off. This is another issue for us soundies, who need clear audio way more than clear image. RF Venue Antenna mounted 6 feet away from bag, connected through a PSC Multi SMA. I imagine the issue being, that the Teradek RX also transmits a lot of data back to the TX - a mere passive receiver wouldn't have this issue. The current-gen Teradeks also have range issues, making the 2AC pull cable to within feet of the camera, placing the RX on a stand with a V-lock battery, and pulling SDI back to village for the image to work. We're not talking huge distances here; often the camera moving 10 metres down the hall will yield artifacts all over the place. My conclusion for now must be, that the Teradeks are far from an optimal solution, considering my current workflow. Now, I've bought a Blackmagic downscaler as well as a SD drone video system, that i'll hopefully have a chance to put through it paces in the next week of shooting; stay tuned..

Denmark works just fine too..

I bet that you already have on laying around from an old router, set-top-box or whatever - i have a whole box full of them, from tiny (and not very powerful) to huge iron-core transformers capable of supplying 5 amps. Anything should go with the DC-2.

That looks absolutely awesome. Any idea when your European distributors will have them in stock?

A mixture of two-component epoxy with glass fibre, and then some hot glue for filling up all the little nooks.

Thanks to both Dominique and Nick for the kind words. Next project: diy power distribution for the bag, and lots of built-in light!

Spent a couple of months figuring out how to lug my gear around in planes and other forms of public transport. Heavily inspired by another user in here (can't remember the name right now, sorry), i decided to go for a Pelican 1650, which is quite a nice compromise between size and the amount of gear it fits. I just got a new Ktek bag (i LOVE it!) which fits perfectly height-wise, so i had some 5mm acrylic plates laser cut as dividers to fit my needs. Covered the dividers with foam in select places, and added a tad of gadgetry with internal 12v SLA battery, power-con input, phone charger and light in the lid, for the times when there's neither power nor light around. The chargers are permanently mounted in the case for fast setup on set - just plug in the power-con and get working! The battery SLA is charged by 220v automagically. The case has room for my harness, zeppelin, cables, tails, mic belts, IEMS, MM1 preamp and random assorted gadgets. Radio mics are in the side pouches of the Ktek. I've lost count of how many hours this has taken to accomplish, but i'm really happy with the results. All loaded the case weights around 33 kg and contains everything i need for smaller setups.

I just saw the movie (for the second time), and has no issues following the dialogue - but everything was subtitled, as i'm in Denmark, so that helps a lot.. The music however was amazing - i love Zimmer's score, and i don't agree on the excessive use of LFE (at least in the theatres i watched it in).