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Showing results for tags 'Wireless'.
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Hey All, I'm looking for a solution to quickly dump a sound report from my 664 to my iPhone so I can email it off quickly at the end of my workdays. Research so far has led me to WiFi enabled SD cards, WiFi SD card readers and Lightning SD card readers. Currently I think my best potential solution is the WiFi enabled SD cards. It is smallest of the solutions. Most cards seem to have their proprietary apps you have to use to transfer files. Some, like the Eye Fi brand, only allow you to transfer photos and video from cameras. Toshiba Flash Air seems to allow all files to be transferred from their SD cards. Documentation on these products, their specs and transferring functions has not been the easiest to find. NOTE: I am well aware that these cards are not approved media- they would be used to quickly transfer a sound report from the CF to the WiFi SD then onto my iPhone. I am not looking to record successfully on said cards. So before I go blow some $$ on something that may not work, I thought I would ask you wonderfully helpful people here at JWSG: Has anyone had experience using this solution or these WiFi cards in a Sound Devices mixer for simply transferring files to their iPhone/mobile device? Does anyone have another solution that they successfully use to get sound reports to their mobile device in the field without lugging around a laptop? Thanks! Todd Steinhauer -
Hi everyone, pleased to touch down on jwsound for the first time. I will be shooting a documentary in Tuva, southern Siberia in the summer. Does anyone have experience of wireless frequencies in this area? I will be using G3's and possibly Sony UWP's. Or any experience of recording in this area in general? Many thanks, Lewis
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Some days ago, I shot a couple of long scenes in a very crowded shopping center where the background was very loud. I had 3 Zaxcom LANC transmitters and, at the last minute, I had to add an other mic and I used a backup Sennheiser G3. All had Sanken Cos11 as mic. Yesterday, I listened at the files in ProTools and noticed that the Sennheiser had a better separation between actor voice and background noise. I compared it (it was mounted on a man) with an other male actor standing beside him, but having Zaxcom Tx, with the mic in the same position and at the almost identical level of voice and the Zaxcom had the background noise at a noticeable higher level. Someone using different brands of wireless experienced something similar (even comparing other brands than mine)? Coul it be a more aggressive setting of the Sennheiser expander? Just curious. Vale.
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Selling a lightly used TRX900 transmitter and receiver pair that I used for about a year as a camera hop. It is block 24. Every cable you could need is included, as is the original blue zipper bag and a 4GB micro SD card. Price is $3500 firm. List of cables: -(1) 5 Pin XLR to 5 Pin XLR (Receiver to Alexa audio) -(2) 5 Pin XLR to Y Stereo XLR -(1) 5 Pin XLR to Y Stereo 1/8" (Receiver to RED Epic/Scarlet) -(1) Stereo Y XLR to TA5 (Transmitter input cable) -(1) 10' Transmitter power and audio extension snake -(1) 2 Pin Lemo Power -(1) 3 Pin Fischer Power -(1) P-tap Power If interested, please email bmartel@mac.com
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Captain Chris Wade and the SeaWatch SharkBoat is about to leave US waters on a mission to save sharks in Costa Rica's beautiful Isla de Cocos with a crew of 10 and boat full of GoPros, Canon 5D's, DSLR's and Final Cut, ProLine, etc... Every moment of every day will be documented. On the Boat (handheld and fixed), In the water (drones and diving), in the air (drones). This is a self funded production in conjunction with The Shark Research Institute and SharkBoat.org. Does anyone have any suggestions as to individuals seeking a write-off to a 501c3 for 2014 in exchange for some used/unneeded gear (Booms, Wireless, Mixer, etc...) that could be donated for this amazing project. Or a sound person/ DIT looking to come to Costa Rica for 6 months on an unforgettable journey that is assured to capture content that no one has ever seen before. "The Pirates of the Pacific" are about to enter "Blood Waters" and could use your advice!
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What are the advantages of setting wireless mikes to line level vs. mic when it comes to dialog scenes? My preference is to always set them to mic for any show where I am the main mixer. About 60% of the work I do is in reality TV and when I day-play for other reality shows that have their workflows already established, I've noticed that most of them have their mixers switched to line level for their wireless receivers. I am not one to disturb another show's audio workflow, and so I will mix the wireless mikes at line level for the whole day--No problem. However, what my ears tell me is that low level passages of dialog do sound very faint compared to when wireless mikes are at mic. The only thing I can fathom is that line level may help in mixing audio levels for talent that may shriek and yell a lot. If the sound mixers in the scripted field can chime-in on this also, that would be great. Thanks in advance! -
Hello, I originally posted this in Current and am reposting here in Workflow. I am working on a travel show that has me going all over the country only spending a day or two in one area. I am using four channels of WisyCom (470 - 640) wireless for talent, two Sennheiser G3 as hops (mono to two cameras), and Comtek 216's. With all of this wireless, I am trying to find the best practice to coordinate frequencies in multiple locations quickly and efficiently. For the first week out it was a lot of receiver scanning in local hotels the night before the shoot and adjusting accordingly on location the next day but I'm sure that I am not doing the right thing. Any advice that anyone could give me would be hugely appreciated. This amount of wireless is relatively new to me as I only recently was fortunate enough to get the work that could require, and pay for, a large expansion of my kit. Thanks!!
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Just bought a CMIT5U and am getting ready to use it in conjunction with a Denecke PS1a power supply and a UM400a transmitter. Is there a distinct wiring configuration I need to use for the boom cable itself? Redding Audio's site says: "Special care must be taken if the CMIT 5U is used with an external phantom power supply going unbalanced into a wireless bodypack transmitter - pin-3 must be decoupled from the powering and pin-1 must remain connected. (Keep pin-2 hot and pin-1 GND)." Am i mistaken, or does a phantom power supply not only supply power across Pins 1 and 2 anyway? What am I missing? Any assistance would be appreciated. Thanks!
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I'm doing sound on a film that will feature mountain climbers. The director want's to capture ambient sounds as we shoot safely from the bottom of the mountain. He's expecting the climbers to be about one thousand feet above us. So my question is, can anyone recommend a wireless lavalier system with a reliable operating range at that distance? We will be in the middle of nowhere, so interference from other signals shouldn't be much of an issue. I use Sennheiser G3 systems now and I'm quite certain they will not cut it. Cheers, Jeff -
I'm investing in a Comtek system to compliment my (rather extensive and elaborate) ERX2 IFB config. I've read the all the literature I can find. Looking for practical guidance on the difference performance in terms of range and fidelity of the following: M216 (10 mw) M216-P7 (10 mw) (will these either of these two cut if for cart use with the right antenna configuration? I'd like to go this route if realistic. I heard a M216 raised on the mast works quite well for some.) BST75 (100 mw) Thanks in advance. - Patrick
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This Wednesday July 30th! Join us at our Los Angeles branch as we host Massimo Polo for a special Wisycom Q&A session. Massimo will be discussing some future firmware updates, getting the most of your system, and best practices for wireless on set. The event starts at 10 am PDT. You can RSVP by emailing rsvp@trewaudio.com
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Hello all, Just completed these videos last week and thought anyone interested in the L Series products might want to take a look. LT and LMb transmitters: LR receiver:
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So producer says they want to split the cameras to two different locations tomorrow. One for an interview and the other for recreation with four talent. I'm the only sound guy. She says they have an extra wireless microphone that the interview cam can use. This is a picture of what they handed me. When I stopped laughing, I broke a lectro out of my bag, set the cam up to record audio and wished the operator good luck. Note the MIKE in and out.
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Hey all! I've been working on an Arena football reality show, and we've been putting some of my wirelesses on players during the game. The SMQVs are pretty snug in padding and gaff taped to hell, so they're holding up like champs, but as you can imagine, my lav mics are getting destroyed. The mic head is pretty tucked away inside of padding, but they're still taking on a decent brunt of impact. I've been using my B6s because they're fairly sweat proof, but between the impact and the yelling (my SMQVs' sensitivities are set to 1.5 during the games and the players still occasionally peak in unit), the diaphragms are taking a beating. I was thinking of picking up some Oscar Sound tech TL-40s because of their price point, but I was wondering if anyone could suggest some rugged mics that might hold up better in this situation. I've been shying away from my tram mics in this situation because my experience with them is that they tend to sweat out pretty quickly. Thanks!
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Howdy People!, I have a set of Audio Limited 2040s which have been replaced buy my new Lectros [smqv and sbr] and i am considering using the 2040s as a wireless link to camera. Now i dont do very much wireless to camera so i dont have very much access to fiddle with a camera but i was wondering if anyone here uses the 2040s for that purpose and what tips and methods you peeps recomend. I have tried to find something on the site but i cant seem to find it but am more than happy to read off another link if someone knows where it is. Just so you know i am using a 744t 442 combo with now 2 lectros and 2 2040s. I have the appropriate cables and have tested them and they seem to be all good. Thanks in advance!
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I have an SD 3-output portable headphone amp and was mulling over the idea of using it in my bag as an added distribution system to send signal to a camera hop (Senn G3 100 Tx) and IFB Tx (Lectro UM400A), etc., via attenuator cables. My initial test using the Sennheiser seemed to sound fine using a -25db attenuator cable. Has anyone here ever used a headphone signal this way? What are the pitfalls, if any? I like the idea of having the 3 additional, seperate and isolated output signals the SD amp provides that I can control so easily, but I'm not so familiar with the practical differences between line and headphone signal. Thank you, Marc Hlavaty
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As suggested by Jim, here is a single thread suitable for updating information and discussing current issues and activities that affect the radio spectrum we use in our work, particularly for our wireless systems. As Jim suggested I "moderate" this thread, please feel free to post information here, and I'll advise if there are any concerns... OK ??
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I recall someone saying that the Sennheiser G3 transmitters are compatible with a different brand of wireless slot receivers. I can’t remember if it was the Lectrosonics SR series or some other brand when switched to compatibility mode. Can someone please tell me which receiver would work? thanks,
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Hi all UK soundies. Does anyone know where I can hire a camera hop (Zaxcom, lectros or Wisycom etc) with all the cables and 'V-lock' mounting system. I would prefer Zaxcom (but not with TRX 900/STA combo) as I have experience with this but totally open to any suggestions. Looking for a week's hire in the week starting 5th of May. Any help would be appreciated. Thanks, Will. w dot planitzer at ntlworld dot com
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Hello, I was recently watching the "behind-the-scenes/making-of" DVD for the British period drama "Downton Abbey". The sound mixer mentioned that all the characters were wired for primary dialogue and boom mics/shotguns were used mainly for atmosphere. With all the intricate period costumes and many characters in a scene, I was curious about the lav/wireless sytems used and how it is all dealt with. Forgive me for not catching the sound mixers name, but I certainly admire his work and the scope of the series. Thanks kindly, Dave
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Simple question here: do you prefer the DPA brand concealer (DMM0012) or the LMC Sound C Mount Vampire Clip for hiding 4063's. I'm interested in all of the obvious performance benchmarks, such as transmission of clothing noise. LMC: http://lmcsound.com/products/c-mount/ DPA: http://www.bhphotovideo.com/c/product/545888-REG/DPA_Microphones_DMM0012_DMM0012_Miniature_Concealer_for.html
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Hi I'm looking to upgrade my radio system and Im favoured towards 2 Lectroconices systems. Most of my work is documentary and reality based shows with a basic bag kit of 2 to 3 wireless radio mics. I'd appreciate advice and opinions from current Lectrosonics users, it's a big investment after all!! Im guessing the advantage of the SMQV is the longer battery life over the SMV. But it seems to me this is really only an advantage when using the higher power outputs. Is longer battery life a better option than smaller size? Then... are the LMa or UMa a better option than the SMV or the SMQV? And if so why? Now receivers? One SRb5P two channel receiver? or two UCR411a receivers? Thanks in advance for your opinions... greatly valued as usual Mick
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Warning: I'm a newbie so pardon the stupid question. I really just want to tally what's the most popular combo out there. Please list what's your Transmitter/Receiver and your opinion of how it's working for you and why you like using that combo
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Hi What system do you use for wireless sound for the director. I am recording commercials with a small crew, but need to send the sound wireless to the director. I would normal use boom and one wireless mic on the actor. Would you send a mono signal or both boom and wireless mic ? I would like a small pocket system where it is possible to send a stereo signal. And a system that can run on batteries, instead of charging system. I would like to hear from yours experience. I am recording on a Sound devices 664. Thanks
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Sennheiser announced today that they have filed a petition with the FCC to compensate owners of wireless equipment which will be made obsolete due to the coming auction of the 600 mHz band. Some of you may be familiar with how this was handled in the UK, where the government compensated individuals whose equipment was rendered unusuable due to re-allocation of spectrum. Don't know if this will fly in the good 'ole US of A, but you never know. Press release here:http://en-us.sennheiser.com/news-sennheiser-petitions-fcc-to-compensate-owners-of-wireless-microphone-equipment-as-spectrum-faces-repacking-for-second-time- --S
