mixer and wireless link to camcorder

[Peter Perry]

Hi Alan,
It seems like you really want to try the RF route….against all of the pros advice not to….so here is my 2 cents.
a. Make sure you are allowed to use RF where you plan to shoot. I have spent a lot of time in doctors offices/waiting rooms/clinics lately. None allow cell phones to be used. If you can’t use a cell phone, then you can’t use RF.
b. Do not trust the ENTIRE AUDIO portion of your production to a $600 RF setup. RF mics have come a long way in the last few years, but, as John has said, you could be shooting in a very challenging RF environment. You better get the top of the line Sennheiser or Lectrosonics units, with full diversity and all the other bells and whistles, or you may as well just shoot yourself in the head now and get it over with.
c. Hire an experienced audio person to come in and set this up for you before you shoot with it. You said that you don’t have any experience with pro audio. You will have possibly 6 gain stages in an mixer/RF/camera setup. If you don’t know how to balance all the ins and outs of all this equipemnt, it will be a nightmare.
d. Be prepared to go wired at all times. Even with the best equipment, set up by the best tech, there WILL, no doubt about it, be times when you can’t get this setup to work, or be allowed to use it. Be a Boy Scout.
Those are my 2 cents. What city are you in? I’ll be scanning the local papers for news of a local video production team shooting themselves in the head out of frustration.
Peter

[Alan Lacey]

Thank you both very much indeed for the lengthy and interesting posts, they are much appreciated.

I’m currently using Micron and Sennheiser radio mics perectly happily alongside the boompole.

I generally don’t need all four tracks kept separate, hence the mixer.

The RF link, mixer-camcorder, would be an added advantage if it works realiably enough. No great distances involved here, just freedom of movement for the guy looking after the sound.

Alan

[Craig Alan]

Hi Alan,

Two other minor points to consider: RF is line of sight dependent and the orientation of the antennae of the receivers and transmitters ideally should match. Vertical/vertical or horizontal/horizontal.

OSX 10.4.7; Quicksilver Dual 1 gig; FCP 4.5, 3.0.4; Sony camcorder vx2000/pd170; write professionally for a variety of media;teach video production in L.A.

[Alan Lacey]

Thanks eyecamiam

I’m reasonably experienced with practical radiomic use. Actually it’s more guidance on setting up a bullet proof RF link between the mixer and camera that I’m seeking. ie relative power levels, manufacturers and model differences.

Cost’s not so much of an issue but I’ll only have one bite of the cherry so needing to know where to start, I’d much prefer the guidance of users and pros to start with before going to the dealers.

It’ll mainly be feeding my PDW350 and I’m based in London(UK)

Cheers Alan

[Bouncing Account needs new email address]

I have never ever left a shoot regretting connecting the audio via a cable.

I HAVE left many shoots asking why the heck the RF was noisy only on the KEEPER takes.

RF is an iffy proposition under the most controlled and “clean” (free of other RF) conditions.

In an environment of other sources of RF (computers and medical gear) and lots of metal cabinets and stands…

OMG, don’t do it!

Why on earth would you need to?

Just use a longer cable for your audio-to-camera link… and enjoy life!