Mungo

I don't understand what you need either. Perhaps this one http://en-de.sennheiser.com/dc-2 Put it into your EW-300 IEM receiver and plug an AC/DC 12V converter to it. Then your receiver is "stationary" and doesn't need any batteries.

Since I do only ENG, reality and documentary, wiring is a bit less hard to manage as in fiction. But there are some things I keep as a rule: - WHEN: Neither the location manager nor the director decides when is the time to wire, only I do. Because I get in touch with the talent. - Sometimes (especially on women and children I see for the first and last time) I do it under the eyes of someone who is around. - Leave the mikes on the talents until director is heading outside: Too annoying for the talent (and me) to "re-wire" again because something's been forgotten to shoot.g - During lunch brake or a talent leaving the set for a short period of time, I just take the transmitter and leave the cable on. That gives the talent the feeling of privacy and me the opportunity to change batteries. And: never wire on talking head interviews (If possible). I hate that so much.

Since Zaxcom (except Deva) is not common here in Germany, just a question: How does Zaxcom Camera Link sound compared to Lectrosonics Digital Hybrid / Sennheiser 3000/5000 / Sony DWX? and is it true stereo throughout 20-20kHz? and can you use stereo link as two separate independent channels without cross talk? and are there any weaknesses of the system?

I have seen a GoPro being crashed in an ice hockey game, placed on goalkeeper's helmet. Lectro transmitters MAY BE even more rugged than a GoPro, but it was just a not so tough German game ...

No exaggeration to say that 633 will find it's place in history as a legendary tool of it's time. just like 416, SQN-3, U87 ... (I left out Nagra)

I'm very thankful to the GoPro designers that they have not built in any audio controls. So nobody gets the idea of asking me to record sound on this little camera. GoPro = double system

Tested one today. It's a mess for sound (and shooter) that you have to look into the viewfinder to change audio settings. Even changing monitor volume demands working yourself through some menus. I miss the display on the side - no chance to have a look at the audio levels when the cameraman makes his pictures. Sony says they have constructed the FS7 for one man shooters ... But good audio choices in the menu, no accidental changing of values possible.

I tested UWP-D today with an FS7 and the MI Shoe. Well, advantages are the ability to power the transmitter via USB and the receiver via MI Shoe, good range and stability ... but that was it. I was a little disappointed from the system: Relatively high noise floor, some audible compander working. Keychain test not better than any analogue system. Reproduction of low frequencies very boring. I had it connected to a 633 via X3 which worked very well. Perhaps OK as a camera hop and very nice as a monitor system. Well, you just get what you pay for.

Sound Devices products have become 6% more expensive for us in Europe this week

Had a test with Lectro SRb and Sennheiser SK50 two years ago. The compatibility mode only sounded good when I lowered the gain on the Sennheiser, that's what the key test made obvious. I needed to send about 20dB less into the SK50 to have as good results as if there was a Sennheiser receiver.

I've used 744T, 552, 664 and 633. The 633 is the best sound tool I've ever had and suitable for almost every production. Recently I used it with a stereo mike for atmo recording + 1 boom + 2 wireless + 2 camera hops demanding completely different input levels (solved via X1X2) + 1 wireless camera return. Everything in this small box. Since the 633 is all digital, there is no more difference in quality to the 7 series. 664 and 552 are analogue mixers with a recording stage at the outputs - so these two are no comparision to the 7 if digital recording is the most important feature for you. BTW: The other day I tried to take out the hard disk from the 744T to save weight and energy, because CF cards have enough space nowadays and are reliable. The 744T would not accept this and annoyed me with stupid formatting messages.

Perhaps this is the right guy to build us a tiny mic amplifier with 48V output for inputs 4 to 6 on the SD633 ...

+1 on compander issue. I experienced it heavily with older HiDyn plus and HDX. The only chance to lower the effect was to reduce the level, so it becomes overall too low in technical aspects. Mostly happening with women having perfect teeth.

If this weren't great, Neutrik wouldn't sell it. They would never damage their reputation in the sound scene. But this seems to be made for stage purpose. The possibility to feed it with 5 volts makes it quite useful for a wide range of applications, even for us. I can imagine sending a feed to a speaker, camera hop (maybe too bulky and heavy), wireless boom operator (with preamp), installed mics at a distance in super wide shots. With the uncompressed digital audio, this is really an invention, although Sennheiser does it with it's 9000, but you really can't compare that. I can't wait to read the first reviews.

+1 I heard so many times from camera assistants: "You have a lockit in your mixer, don't you? Why do we need to give you another one?"

Firmware update #1: Sound Devices adds 20dB more gain to inputs 4 to 6 of the 633 Firmware update #2: Adobe makes SD's track names visible in Premiere Firmware update #3: Sony's UWP-D running at 50mW

Great! Makes also the talent's voices nicer in case of bursting

Thank you for your estimation This must be it. At 1:26 on of the red cups jiggles for a moment on the table and it's clearly audible.

Since these young people are talented musicians but no professional audio recordists (and no professional steadycam operators!!), I find this recording amazing. It seems to be no playback. An uncommon, creative, but effective recording technique. Which mikes are used?

There were very few cameras playing a major role in the TV world of 1999: Arri 16SR3 (doc, tv movies, series) Sony BVW-300/400 (Betacam SP, for news) Sony DVW-900 (Digital Betacam, for doc, news) and some extremely heavy camera with docking recorder solutions (Sony, Ikegami)

DAT recorders from HHB and Fostex Wireless Sennheiser SK50 / EK4015 (16 fixed frequencies) Wireless Sennheiser SK2012 / EK2012 (1 or 2 fixed freqs) No digital mixers SQN mixers all around I remember the SD 302 coming up around 2003.

I have no experience with nomad, but I found out that I get the best results with SD 633 / 644 / 552 when the XLR output is set to "-10". Transmitter sensitivity is around -41 then as far as I remember. When SD's output is set to "LINE", I discovered some slight overload in the input stage of the transmitter, even when set to -60.

Sony F5 ENG Rig Look what this developer presents: It is mainly built for one man shooters but it offers an audio slot and more opportunities.

We do park our closed vans' back a few centimeters to a wall, or if there is no wall, a lamp post, tree etc. and lock the brake. So it's at least physically impossible to open the back door ...

This terrible accident has gained international acceptance. I found this news yesterday on our local newspaper website in Hamburg / Germany http://www.mopo.de/promi---show/zwei-tote-im-schnellimbiss-bei-dreh-fuer-reality-serie--cops---polizist-erschiesst-toningenieur,5066870,28246140.html Risking life for TV has been discussed in Germany for some time since a young man was paralyzed from the neck down two years ago, doing a stunt in a TV show, watched live by 8 million viewers. We do so many dangerous things day by day, thinking that we will be home with our families afterwards ...