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    ENG, EFP, Sound mixing post
  • Interested in Sound for Picture

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  1. +1 I often work in small ENG crews and struggle a lot with GoPro-Apps, DJI drone apps, DJI gimbal Apps, Sony camera apps, Sony DSLR apps, Audio-over-IP-apps ... and more. If they work, they work well on rehearsal and not when shooting, not in crowded situations, not outside, not inside, not in a car. They cry out for updates when there's absolutely no time for it. Most of the time the Apple apps work better than the Android ones but sometimes vice versa ... Another disadvantage is that with one mobile device you can't monitor all these devices at the same time. Switching takes a long time, sometimes requiring a restart of the app or reconnecting. And yes, I also use Wingman (664) and SD Remote (833) and yes, they both sometimes hang up too.
  2. +1 The 411 doesn't support active antennas I guess which is not necessary at all on a cart with short RF cables. Take a look at the technical specs. Expensive doesn't always mean better in this case. Seems like Zaxcom is cheaper than Shure and even Remote Audio (huh?)
  3. Bag, cart or installed setup?
  4. As Patrick and Wyatt say, try to extract the embedded audio from the video signal. A simple camera hop solution should be implemented so there's always audio within the video line. There may be a headphone jack on the computer that acts as a monitor (or use the Apple Lightning-adaptor in case of an Ipad). No matter how much video processing time there is it will be in sync and you're out of responsibility. The problem is the delayed video, not your audio.
  5. This gets a little off-topic, but ... there are two solutions to adapt unislot receivers to slotless cameras. I do use one or another, depending on demands, and they are both worth the money: https://ambient.de/en/product/v-mount-slot/ https://www.hlaudio.de/sony-pro-audio/hl-audio-dwa-03p25-a.html
  6. Rode Wireless Go II as lav or "camera hop"-solution Shure MV88 plug-on?
  7. An engineer once told me that it takes a lot of magic to design even a two channel receiver for a slot. Some cameras provide less than 4 watts through the slot (which is by far very little power per channel) and heat is a severe concern. Some cameras rather add heat than dissipate. Possibly a reason why some manufacturers' leading receivers (Zaxcom, Lectro, even Deity) are not slot-in.
  8. Everytime I get the chance to record some classical music with an ORTF setup, I'm flabbergasted how good it sounds. Of course, it depends on the room. Be aware that any analogue wireless won't represent the transient sounds very well. Digital systems will do. And take care that it's a system that stays phase-locked when using two transmitters as a stereo pair. I know that Sennheiser 9000/6000 and Sony DWX will do, but don't know about the other common brands.
  9. So it is a software bug? Which fw version are you working with? I guess we have the latest version and are working without issues (camera hop to XLR 1/2 and MI Shoe adaptor XLR-K3M to 3/4). Anyway, Sony announced an upgrade for May.
  10. Mungo

    Antenna combiner

    https://www.rfvenue.com/products/4-zone The only one (?) that really does what people like us need. Quite well built and quite versatile. Unfortunately rack size and only AC powered. There are people who have modified it to DC. In this forum there has been discussed this device a lot.
  11. Yes, it works in mono. Unfortunately the preset lists don't match most of the time. SK500/2000 can do 50mW, SK100/300 only 30mW (in Europe). So cheapest combo is SK100 with EK1039 receivers. Pilot tone can be left on and operates as a better squelch.
  12. I remember weak RF from a woman who was wearing a quilted thermal jacket. It took long before we found out that there was a layer of aluminium inside.
  13. Almost always seen in interrogation room scenes over here: Schoeps, Neumann KM or MHK40 on the table. No police dept would spend so much money on a simple interrogation recording system 😄
  14. At least one wavelength, as said by Shure. I've got a vintage Sennheiser system operating on VHF 37 MHz (bought just for fun on ebay years ago). The manual says the antennas have to be 8 meters apart 😄
  15. In an ENG workflow like I've been doing quite often, it's absolutely useful. When there is no time and no location manager around to turn off the noise, it's as good as gold. Recently a camera person said that she wondered how I managed to boom so clear voices near a street with a lot of traffic ... just a little mystery but I admitted. So, for those SQN style productions where you mix directly it makes a lot of sense. I often had wished for something like this for years and knew it would be available some day. For fictional and properly recorded iso tracks it rather makes no sense, as stated by JonG.
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