RF Day

[Steve Nelson, CAS]

This last Saturday, the Education Committee of Local 695 hosted RF Day, which consisted of a presentation by Glenn Saunders of Zaxcom featuring the public unveiling of his new Zax-Net technology, some new devices, and a review of other more familiar Zaxcom equipment. The second part of the day was a presentation by Tim Holly mostly about the effects of the DTV switchover on our work, including a history of the FCC and kind of a Radio Mic primer.

The event was well attended for a Saturday morning in the summertime (nicely air-conditioned - an essential for the Valley, thank you, Bexel). Attendance was by reservation only so I don't know how many were turned away. It was a pretty lively crowd, especially for a Saturday morning - except for poor Jeff W. who I believe came straight from work. (Luckily he doesn't snore.) It was great to see so many sound people there and many friends, all to learn about some pretty exciting - and some not so exciting - new developments. There was, of course, some grousing about the current work situation, or lack thereof, but it was confined to the breaks.

Zaxcom was first, and although Glenn writes some pretty excellent software, he needs some new joke writers. Fortunately his jokes weren't bad enough to spoil the impact of this new Zax-net technology, which, if it works, may well be the most significant new development in our RF world since, what, uhf? diversity? Aviom digital snake? And this from a guy with 14 channels of Lectrosonics.

Simply put, as I understand it, Zax-Net is a free piece of software to connect and integrate all the Zaxcom equipment (but not always exclusively Zaxcom), recorder, mixer, radios, IFB, time code, remote SD recorders in the transmitters. This not only gives one the power to remotely control the gain of the transmitters, and the power consumption (sleep mode), but most game changing, to do remote sync playback w/timecode from the on board SD recorders in the transmitters, thus allowing unlimited mixer do-overs without any RF interference, or missed cues, or bad transitions or even if you did not roll! There's a lot more to it, but that, for me, is the gist of it and it is, if it works - and it did in the demo - and if we can afford it, pretty effing amazing.

There was more about the different wireless options, IFB and all the Zaxcom gear. Glenn made a big deal about the digital encryption, and referenced the recent infamous Christian Bale incident, but funnily, since the ultimate source of that notorious rant was not someone stealing it from the airwaves with a scanner or somesuch, this is the least of my concerns. A nice bonus, I suppose, but not the bees knees.

The biggest of my concerns, and I don't think I'm alone here, is having this techno candy dangled in front of a room full of sound people many or most of whom don't know when or what their next job will be. (My endless summer starts on Friday.)

The next presentation was by Tim Holly, currently the RF coordinator at CBS Radford Studios. (Unfortunately, it should be said that sound people apparently should stay away from comedy.) Tim wanted us to have an overview of the history and impact of the FCC, and specifically for us to know the ways in which we will be affected by the DTV conversion. This, for many of us, I think, was a classic good news/bad news situation. The good news is that the migration of broadcast television to the new exclusively DTV channels will actually open up more clear frequencies, or white space to us. The other shoe dropping is that this white space may well be in freqs where we do not already own equipment, and other new developments are seriously limiting if not eliminating RF real estate where we might have bought lots of property (parts of Blocks 21, 22, and essentially all of 27, 28, 29 and others). Tim stressed that continuing to operate in these newly interdicted frequencies might not result only in a bad day at the mixing board but possibly fines and/or other legal troubles.

Tim brought up many interesting points, one of which was his suggestion that we should all get FCC licenses to operate our RF gear. These are low cost and pretty easy to obtain, and although I'm not 100% clear on why we need them, he was pretty convinced that holding the proper license is a good way for us to maintain control over our work and not ceding to the producers. Tim provided a photocopied handout that was obviously the distillation of much research on his part and full of very useful information. There was more discussion about intermodulation issues, frequency coordination, spectrum analyzers, antennas, and was a very exciting, thought provoking, worrisome and educational day. A great job by Laurence Abrams and the educational committee and the presenters. This event will soon be available on streaming video at 695.com

Sorry for the long winded post, but there it is and I'd love to hear other impressions, comments, questions, opinions.

-----------------steve nelson

still working but not for long

[John Coffey]

Steve, nice seeing you Saturday. I would like to add that seeing the slate with the take and scene number on it was cool.  The fact that the script supervisor can use her IFB to listen to the scene, read the time code on the IFB and see the take and scene number, instantly solves a perpetual communications problem on the set between the mixer, AC and script supervisor.  The AC never has to write the scene and take number on the slate again and if the slate is wrong, script can just make a note, because camera and sound will at least always be together.

John Coffey

[Steve Nelson, CAS]

I think I forgot to acknowledge Coffey Sound for promoting Saturday's event.

Yes, those features are cool, but

1) In my world, at least, I've never had a script supervisor inquire about time code.

2) How many times do I get the current STN from reading it off the slate when they hold it in front of the lens? With this system, suddenly I'm responsible, and unlike STN on the Deva this can't be changed on the fly or after the fact.

So cooler for some perhaps than others.

But sync multi-track playback w/code, w/out RF problems for rerecording on set? Now that's cool.

----steve

[Kevin Sorensen]

Steve, nice seeing you Saturday. I would like to add that seeing the slate with the take and scene number on it was cool.  The fact that the script supervisor can use her IFB to listen to the scene, read the time code on the IFB and see the take and scene number, instantly solves a perpetual communications problem on the set between the mixer, AC and script supervisor.  The AC never has to write the scene and take number on the slate again and if the slate is wrong, script can just make a note, because camera and sound will at least always be together.

John Coffey

But how drops and bangs is it going to be able to take before  it gets killed on the set, camera assistants are very

careless with the t/c slates as it is. Not worth the constant repair work it would require.

KKS

[RPSharman]

Regarding the slate function - I mentioned in another thread that I thought this would only be useful on poorly staffed jobs or documentary-type shoots.  Glenn was a little defensive when I suggested it would not be useful to those of us who do standard narrative.  Understandable, since I'm sure he worked very hard to sort out this function, and I agreed it was a cool idea, but just not for my "normal" job.

1)  If the slate was wrong, then how does one tail ID the correct number?

2)  I'm with Steve - I don't want it to be my responsibility to be the keeper of the scene and take number.  If I get it wrong, I can fix it.  If I get it wrong with the Zaxcom system, it's of no consolation to me that it's wrong on film too for everyone to see my mistake.

3)  Parking an expensive receiver on an already expensive slate is a valid point that Kevin makes.

4)  How often is the slate not bright enough (or too bright), or not tilted properly to see the numbers, etc.?

I did one shoot about 6 months ago where I was often responsible for the slate.  If I wasn't, sometimes it was the DP or even the actors.  I was over the shoulder and typically the only person in the room with the camera and the actors.  We had no 1st or 2nd AC, and sometimes the actor was operating as part of his character, so the DP was in another room too.  Keeping a report was pretty hard, and entering numbers was challenging.  Having a slate that automatically matched without having to think about it (even if I wasn't naming files, but just advancing sequentially) would have been a great asset for the production.  No script supervisor, per se, as each "scene" was a oner, and simply repeated until it all worked out.

But jobs like that are rare for me, and I can't see ever "needing" the function.

All the other stuff was VERY cool indeed.

Robert

[Steven at Coffey Sound]

Kevin,

The slate itself is much more likely to take the brunt of the impact during a fall.  But like all IFB's handed out on set, it can and will be dropped.

Robert,

As you say, It's just one of several optional features available for those who want it, but it is not required to use in the Zax-Net system.  When you go to post production, what really screws them up is having one take on a voice slate and another on the camera slate.  At least this way it's more easily correctable with a script supervisor note.  That would avoid those times when it wasn't caught and everybody tries to figure out when the camera slate and voice slate got out of sync. 

[RPSharman]

Kevin,

The slate itself is much more likely to take the brunt of the impact during a fall.  But like all IFB's handed out on set, it can and will be dropped.

Robert,

As you say, It's just one of several optional features available for those who want it, but it is not required to use in the Zax-Net system.  When you go to post production, what really screws them up is having one take on a voice slate and another on the camera slate.  At least this way it's more easily correctable with a script supervisor note.  That would avoid those times when it wasn't caught and everybody tries to figure out when the camera slate and voice slate got out of sync.  

My boom guy or I are able to verbally correct the voice slate once the script supervisor shouts out a new number or we see I had it wrong when the sticks go up.  And 90% of my voice slates are never heard because they occur prior to the point where the telecine op and/or editor picks off the time code.  Which also brings up the point that ACs usually hold the slate open long before the camera is turned on, bypassing the visual and verbal announcement of the scene and take.  We would have to train the AC to not open the slate until the camera is rolling, being sure it is properly in frame before opening it (which may also include the operator being ready to pan to it).  We are then also expecting the slate to be held in front of the rolling camera long enough to cycle through the data and time code.  My experience tells me none of these things will happen.

[Steve Nelson, CAS]

And really, how important is STN? That's what time code is for. And if they can't see the numbers then they can't see the STN numbers either.

Anyway, it's a nice feature if you want it. And Zaxcom and Denecke are talking about integrating the IFB into the slate to minimize potential damage.

----steve

[John Coffey]

I think the term, "Zax-Net", is really confusing things.  To tell you the truth, I didn't really understand it all, until I saw it and heard it myself.  It takes awhile to get your arms around what it really is.

Basically, it's just a whole group of new features and applications that were suddenly made available as an entire group of options, instead of coming out one at a time.  All of the features can be used, or smaller parts of it can be used.  For instance, many people I talk to think that owning the Zaxcom mixing panel is necessary to use any Zax-Net features, when in fact, a Deva can do it by itself.  In this case, a Zaxcom panel will just make it easier on a cart, but the Deva controls can be assigned to work with the Zax-Net system and that good old Cooper can stay right where it is.    

The slate feature is just another small part of the whole.  You can take it or leave it and still use the other features anyway.  Charlie at Denecke worked together with Zaxcom to offer this feature.  Personally, I would use the slate that way.  I think it's easier in the long run.  Although we usually catch an error, I can re-call many times where we "discovered" that the slate writing was wrong or the voice slate was wrong, without catching it.  Then we all congregated at the script supervisor's chair to huddle and figure out when the slate changed to 23B-take 1, while I was still on 23A-take7, or vice-versa.  The length of time that the slate appears on the slate is adjustable and I think that a short training explanation, the AC would be smart enough to open it and point it at the camera after it rolls.  I also think the AC will continue to drop slates and they will continue to be billed as L&D every 100th time they drop it.  

Some features may work for one person, but not another, but don't throw the baby out with the bath water.  There are some features of Zax-Net that are technological changes we have not seen in our lifetime.  They will take time to understand and rotate into the work flow.  I remember seeing the first digital recorder as a concept empty box over ten years ago and watching that train go down the track.  I knew it would take awhile to sink in when I saw the first demonstration a few days ago.  

[Michael P Clark]

. The other shoe dropping is that this white space may well be in freqs where we do not already own equipment, and other new developments are seriously limiting if not eliminating RF real estate where we might have bought lots of property (parts of Blocks 21, 22, and essentially all of 27, 28, 29 and others). Tim stressed that continuing to operate in these newly interdicted frequencies might not result only in a bad day at the mixing board but possibly fines and/or other legal troubles.

Steve,

Could you talk a bit about the block 21-22 situation? I have not heard about those blocks being effected in the future. 

Thanks

Michael

[Q]

Tim brought up many interesting points, one of which was his suggestion that we should all get FCC licenses to operate our RF gear. These are low cost and pretty easy to obtain, and although I'm not 100% clear on why we need them, he was pretty convinced that holding the proper license is a good way for us to maintain control over our work and not ceding to the producers.

Any mention of exactly what license that might be?  Is it like the license you are supposed to file to operate some of the higher powered GMRS walkie talkie radios?

Over 25 years ago I received an FCC license to operate 100,000 watt radio station transmitters ... maybe I'm already covered for operating the relatively low power microphone radios we use?

[Steve Nelson, CAS]

I learned something just now. I had almost finished a fairly detailed response to Mike and Brian's questions when somehow I changed URLs and lost it. So, after I compose myself, I'll redo it off line and paste in in appropriately.

Damn.

-----steve

[studiomprd]

" But how (many) drops and bangs is it going to be able to take before  it gets killed on the set, camera assistants are very careless with the t/c slates as it is.  "

about as many as any Denecke (built tough!)TC slate...or professional wireless TX or RX. Lectro IFB's, Comtek's, etc have been doing this sort of gig for many years...

[studiomprd]

" Over 25 years ago I received an FCC license to operate 100,000 watt radio station transmitters  "

sorry, wrong license, just as that same license we both have does not include operating an amateur radio station, or to actually build a 1000,000 watt radio station.

much more related to the business radio licenses, sorry, I forgot the form, but it is actually a station license, not an operators license.

[Steve Nelson, CAS]

OK, in response to Brian’s and Michael’s questions about FCC licensing and what’s happening on Blocks 21/22 – anybody else that was there and/or has a better understanding of these issues, please chime in:

Included in Tim Holly’s presentation on Saturday was a handout that was the distillation of much research on FCC, frequency allocation, and basic RF practice. This is a terrific resource; look for it to be posted @695.com. Tim has created a spreadsheet that graphically illustrates how the RF spectrum in the Los Angeles area has been reallocated since the DTV transition. Although there might be technically more open air space for us (“white space”), it might not be exactly where you’d like it. Also, it is a bit spotty, as always geographically dependent. Important to know there are several former TV channels that have been given over to public safety and other uses; we are strongly advised to Keep Out.

TV Channels 14, 16, 20: LAPD/FD: Forbidden zones.

TV Channel 37: SCIENCE! Don’t even think about it.

Lectro Block 20: Looks pretty open.

Lectro Block 21: Ch. 26 - DTV in San Bernardino, Ch. 27 - low power NTSC in LA, Ch. 28 – DTV KCET, Ch. 29 DTV in Ontario .

Lectro Block 22: Overlaps Ch. 29 in Ontario, Ch. 30 – Clear (yay!),  Ch. 31 – KTLA DTV, Ch. 32 Anaheim DTV, Ch. 33 – Low power LA NTSC, don’t know where.

Lectro Blocks 23 – 26 are a similar mix of DTV in LA and further away, low powered NTSC (why are they still there?) and some open space.

Lectro Blocks 27, 28, 29: Almost completely devoured by something called LMRSS Radio (Land Mobile Radio something something). There might not be anything on any particular frequency at any time, but there could be, and probably there will be more as time passes.

For those of you using 72 MHz Comteks, there is something called “Nightlight” there. I think that is a an intermittent NTSC broadcast left on to help slowpokes do the transition to DTV. I’m not sure if they are regional or what. Crystal Channels L & M I believe are safe.

By all means, get this spreadsheet!

Tim recommends acquiring a spectrum analyzer to efficiently and accurately assessing the conditions. This is about a $1500 - $2000 investment that sounds like a good idea; maybe easier and more versatile than the scan function in the Lectros.

Also stressed is the importance of frequency coordination. As we are crowded into these RF ghettos intermodulation issues will really be more of a problem. (We got a pretty good graphical demonstration of this.) Glenn Saunders says Zaxcom RF is immune to IM problems. Any corroboration of this?

One more lurking danger is something called the “White Space Initiative”. This is technology being developed by some pretty major players (Microsoft and others) to exploit the available white space that has the potential to really hurt us. So far they have not had a successful test of their stuff, but it may just be a matter of time.

This is crazy stuff, and if you haven’t yet been affected by it it’s just a matter of time. And this is just the LA area; every region has gone through this. What to do then? Refreq? Lectro offers a pretty good deal but it is still pricey if you have multiple channels. And then what happens when you go onto a lot somewhere crowded with RF? Invest in pricey new technology that looks like it might solve some of the problems at a time when our rental income seems to be bottoming out? Maybe just renting RF on an as-needed basis is a way to go.

I'll try to answer the FCC question in a subsequent post.

[Mick]

Steve

On a different note, who makes that Cat 5 wireless system you have?

Thanks

Mick

[RPSharman]

For those of you using 72 MHz Comteks, there is something called “Nightlight” there. I think that is a an intermittent NTSC broadcast left on to help slowpokes do the transition to DTV. I’m not sure if they are regional or what. Crystal Channels L & M I believe are safe.

Hmmm... that's me.  Would love to know more about this.  I'll look it up, and let you guys know what I find.  I'll probably call Comtek tomorrow, as this will affect their business in the assisted listening world.

Robert

[Steve Nelson, CAS]

Hey Mick,

I tried responding to you off-group but it bounced back. Is the email you have on your profile still good?

Anyway, the digital snake is by Aviom and it is the shit.

Talk to you soon,

---steve

[Kevin Sorensen]

To Steven at Coffey and Senator Mike ( who has not actually seen this device )

What really looked vulnerable to me was the 1/4 male phono connector sticking out

of the side of the Zaxcom IFB. Thats what concerns me. Anyway I'm sure that can and will be rectified at some time

in future.

And as John Coffey observed, it will take a little time for some of us ( me ) to wrap our heads around this ever

evolving technology.

KKS

[Matt Mayer]

Hmmm... that's me.  Would love to know more about this.  I'll look it up, and let you guys know what I find.  I'll probably call Comtek tomorrow, as this will affect their business in the assisted listening world.

Robert

The "Nightlights" were stations allowed to keep their Analog transmitters active after June 12 to allow dissemination of emergency information if it was necessary.

These stations should have been shut down on July 12:

http://www.broadcastingcable.com/article/315076-Analog_Nightlights_Go_Out.php?rssid=20068&q=digital+tv

---Matt

[glenn]

The unit on the back of the slate at the Demo was a ZFR100 recorder with IFB receive option. The unit that goes on the Slate is the ERX2 IFB receiver that will be ready in September. The Connector is on the top of the unit and is very robust.

Glenn

[Paul Graff]

Probably shouldnlt start a post so late...

The seminar was great and very informative.  Thanks to Laurence and others fo all their hard work.  Without reviewing my notes, iirc the 72 MHz Comtek are covered under part 15 and are only for assisting disabled persons.  Not legal for us to use per Tim  This not anything new, btw. Crystals L and M are outside of the restricted frequencies.

Tim has combed through hundreds of pages of FCC regs to find what is relevant for us.  Some of what he found is good news and I believe much of the info will find its way to the 695 website..

PG

[Marc Wielage]

And 90% of my voice slates are never heard because they occur prior to the point where the telecine op and/or editor picks off the time code.

Not to worry, Robert. Several LA-based telecine and dailies houses do listen to the audio slate prior to the clap, particularly for companies like Encore and Technicolor who log the disks and create "clap logs" with precise timecode location. If the slate TC is bad, or if the camera came up to speed late, we can and do use the voice slate just to locate the right take on the disk.

My only concern with the Zaxcom scene/take display on the Denecke slates is that it doesn't stay up long enough. I think we need at least a couple of seconds for each. In fact, I could imagine a slate that has separate digital readouts for scene name and take number. Unfortunately, it would probably eat up a lot of battery life.

--Marc W.

[cmgoodin]

My only concern with the Zaxcom scene/take display on the Denecke slates is that it doesn't stay up long enough. I think we need at least a couple of seconds for each. In fact, I could imagine a slate that has separate digital readouts for scene name and take number. Unfortunately, it would probably eat up a lot of battery life.

--Marc W.

I agree with Marc.  We will also have to train the ACs not to open the sticks before the camera rolls.  I have a hard enough time telling them to not walk around with the sticks open all the time to keep them from running down the batteries.  I assume it will only be a short time before Denecke comes out with some type of slate that has a dedicated display area for Scene and Take.

----Courtney

[RPSharman]

I still think the numbers will still have to be written. Marc can probably tell us how often the LED screen is unreadable. Then there will be the added confusion of the two sets of numbers on the slate not matching. If the slate is programmed for the info to be there longer, it'll piss off production and the camera department. Marc, again, can tell us how often the slate is up here barely long enough to pause on the time code.

I'm sure there will be some applications where this feature is a Godsend.