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IFB question for the masses


drpro

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Working a show with two cameras.  Typical talent wireless 5-6 systems max, all UHF B21-23.  Post wants a scratch track.  Using Comtek 216mHz receivers on each camera, plus 4-6 for producer types, director, etc.  Both cameras have Teradek Serv Pro video transmitters running usually mounted to the rear.

 

Camera A/DP wants to have clean audio in his ear.  The Serv Pro transmitters are getting into the Comteks depending on where the receiver is mounted.  Obviously further away helps.  Cameras are Sony FS7, so not a lot of space for extras.  I realize the plastic bodies of the Comtek are not ideal in a close RF situation.   Additionally there are two other soundies working this show and we all are using Comteks and having the same problem.  What camera A/DP really wants is a rental on his B20 SRa system, everybody else would still be on Comteks.  I really don't want his two transmitters, Comtek transmitter and talent receivers all in close proximity in my bag. 

 

Going to Zaxcom IFB units would be nice, but they operate in the 2.4gHz range which the Serv Pros use along with 5gHz.  Not sure if they would play nice.  My other thought is go with Lectro VHF IFB system and move the scratch track and client audio far away from those higher frequencies, plus a nice metal body.

 

Money is probably the main issue here needing a completely new IFB system (1-xmitter and 6-8 receivers).

 

Before jumping into the money pit.  Are there any folks out in audio land that have encountered similar equipment configurations.

 

Looking for thoughts,

 

Thanks

David

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Comteks lack of shielding, plus the need for a looong antenna (such as the cable for earbuds) make it impractical for on-camera use even as a scratch... Just too many hits.  Alot of us run 2 TXs out of a bag...it makes a difference which talent RXs are in the bag too. If they are Lectro RXs, I've never run into a problem with TX/RX close to each other, and no problem with a Comtek BST in there either. I use a G3 transmitter for hops, and assuming the freq are not stepping on each other, they all play nicely. Very occasionally, I get a request for super-clean audio feed to a director (ie better than comtek), so giving them a g3 rx on the same feed as the camera hop does the trick (with a tiny $40 headphone amp from Amazon attached). The camera guy's SRa solution seems like a good one to me. 

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Thanks all.  I too have run two TX out of the bag at the same time.  I am trying to avoid having to run two different IFB systems (Comtek and Lectro or other brand).  In all cases I need 4-6 client monitors.  Going the $40 headamp for one person route, maybe,  for 6 not so good, another box, more wires.

Serv Pro is transmitting from the camera, need to go from bag to camera.

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There’s a few issues at play here I’d say. 

 

One, do you really think the DP will be able to charge extra for his SR? If so that’s a little shitty for him to dip into your sand box. OR does he really just want a clean feed without RF interference for sake of monitoring? If so, just get an additional Comtek receiver for the DP to wear on his belt. Problem solved. 

 

The interference may be so bad on the camera body that the SRa would be taking hits as well. My SRb has trouble with certain camera/video transmitter combos.  A Comtek would be the worst in this scenario though. G3s are a step up from Comteks on camera but can also get whacked by camera interference. Nothing is totally immune to the ever increasing amount of RF gak the camera rigs are putting out. More reason to just do dual system. 

 

If the G3 is working fine you could look into Sennheiser G3 IEM receivers for client monitoring.  (EK300). They have the headphone amp built in. 

 

Good luck, it can be a delicate balance making all these devices play nice while making the various personalities involved happy. 

 

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Thanks Derek for your insightful comments. SRa on camera is probably a bit of both. I have spoken to him this am and next shoot day go SRa on his camera and Comteks for B cam and clients. 

One step at a time. I want to try Lectrosonics VHF IFB  for a trial. Perhaps better more RF resistant

 

tnx

David

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I’ve run into camera douches trying to get my rental by owning their own lockits, recorders, wireless, you name it. My answer is no, plain and simple. And if they insist or work something out with production ahead of time, I bill them anyways. It’s not the camera guys place to be doing that, and even with flimsy excuses like “clean signal” or in one instance wanting a smaller lockit (they had tentacles and I have mozegear tig28s, so not much of a difference!), it is still your department and your rental. Production wouldn’t have it if you undercut any other department and brought out your own gear for them to use so they shouldn’t be doing it to you. Bill them anyways since you’re going to be the one operating. 

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On 10/8/2018 at 12:11 PM, Derek H said:

just get an additional Comtek receiver for the DP to wear on his belt. Problem solved. 

This.

I always try and get away from the wireless  scratch track on the camera and instead push a MKH60 or 416 on camera for a scratch and I always have a TC lock it as well. 

Cam Op’s Always seem to like the Comtek feed (from belt pack ) over having headphones attached to camera and monitoring. 

But...it does seem like DP wants into your sandbox too...not cool. 

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My budget solution that both boom op and director's have liked (so far) is using my Sony UWP D11 units.  The RX's have dedicated headphone outputs, but buried in the menu.  I set these a bit louder than normal, then supply Koss Titanium light headphones. These headphones sound way better than they cost, are very light, have easily replaceable ear foam pads (for client cleanliness), and more importantly have in-line volume control.

I've found that the Sony UWP units are much more reliable as far as avoiding hits and loss of signal than my Sennheiser G3's, although they work too in this kind of setup.

I haven't had any interference yet on my camera hops close to Teradeks.

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