Wireless from a mixer to the camera

[Rob Neidig]

Hi Allen,

I’m not Ty, but I’ll throw my $.02 out there. You can do this with just about any of the wireless systems. We do this all the time with two of the Sennheiser EW100 G2 transmitter/receiver set ups that have become so popular. They come with a cable to connect the line level out from the mixer into the transmitter. You may also need to change the sensitivity on the transmitter if you’re sending line level instead of mic level from a lavalier. You also need to find a way to mount the receivers on your camera so you’re not tied down or that sort of defeats the purpose of going wireless. The other caveat is that the camera op then really needs to monitor audio because you’ve introduced a possible problem area with dropouts in the audio from the mixer to the camera. With good line-of-sight and not too much distance it can work quite well, but with wireless there is always the possibility of interference or dropout. Of course with Blackberry’s and the like, now even with wired setups you can get interference. Oh well…

Have fun!

Rob

Rob Neidig
R&R Media Productions
Eugene, Oregon

[Allen Zagel]

Hi Rob
Oh! that quip to Ty was just a hello. I’ve known him a long time. Thanks for your reply. Blackberry interference? HA! I’m certified for Legal Deposition so I know all about those ha ha.

Anyway Possible drop-outs was one of my thoughts/concerns. I suppose I’m better off just hooking up my Marantz PDM 660 to the mixer and recording PCM out that way. I’m considering replacing the Marantz with something that records to SD/SDHC cards and not as much in the menu area anyway. Or just booming my Rhode NT’3’s around the stage and still going with the digital recorder on stage.

Problem was I didn’t want to string cables down the dance floor. Don’t think I’m going to shoot it with my DSR-250 anyway as I got a Panny HPX-170 coming. I just needed to get good audio of the music and the wireless thing was a suggestion by the producer friend of mine.

I plan to have the main camera sort of fixed either on a tripod or small crane and a small HD hand-held walking around for close-ups.

So I guess the best way would be the digital audio recorder right on-stage then? Just have to monitor the CF card. I won’t record MP3. too hard to match to the video due to the minute lossness of MP3. I prefer just to go PCM out.

Thanks for the help
Allen

ASX Media Group, Inc.
http://www.asxvideo.com
NEW DVD – Europe, Trains-n-Trams

[Rob Neidig]

Allen,

I’m a CLVS, too, so the Blackberry issue rears its ugly head WAY too often in depos!!

I also have the Marantz 660 and I think that’s a good idea to use it. I’ve done similar with good results. The wireless feed from mixer works, too. Like I say, you just need to be aware of dropout/interference issues. Particularly if you’re in the fixed/lock down position where you can clip the receivers to your tripod or hang them off the battery boxes on the camera. I hear you (pun intended) on not having cables streatched all over creation! Sounds like you’ve got a handle on the situation.

Have fun!

Rob

Rob Neidig
R&R Media Productions
Eugene, Oregon

[Allen Zagel]

Hi again Rob

Yes the receiving camera would be locked down on the tripod. But also is the issue of cost for a wireless system that would just plug into their mixer. I have an older Azden 100UPR which may not be legal after they (FCC) changes the frequencies. But that has only 1/8 mini plugs and is for a Lav.

What would I look (Google) for on a transmitter with XLR line in?

Thanks
Allen

ASX Media Group, Inc.
http://www.asxvideo.com
NEW DVD – Europe, Trains-n-Trams

[Brian Reynolds]

I doubt if you will find any radio mic transmiters with XLR inputs.
Possibly the best way to go is have an adaptor cable made (XLR female to whatever the input of the transmitter) this way you can use them for all sorts of uses. You will have to lower the level into the transmitter if using line level, either via a pad or some transmitters have internal gain and or mic/line adjustments.
I have several Tx units not on recognised radio mic frequencies but never had a problem (as yet) as most times you are at that location for a short time. Fixed installs might be a different story.

[Allen Zagel]

Hi Brian

Thanks for your information. I’ll probably just go with my PDM-660 on stage then.

Allen

ASX Media Group, Inc.
http://www.asxvideo.com
NEW DVD – Europe, Trains-n-Trams

[Tom Maloney]

Hi, I have used a lectro system to get from my SD 302 to camera. Trew audio carrys the correct cables for getting XLR from the output of the mixer into the lectro transmitter. With my setup I can either send mic or line. Really have to put the entire weight of monitoring levels to the cam op. Hope this helps

Later
Tom

[Allen Zagel]

Hi Tom

Thanks for the info. I’ll check out that Lectro system and Trew Audio.

Oh well? as I wouldn’t have enough to do watching the camera, nNovia hard drive recorder and now the Audio. But you got to always monitor the audio anyway. Already have a set of Sony studio monitor headphones from my deposition work.

Thanks Again
Allen

ASX Media Group, Inc.
http://www.asxvideo.com
NEW DVD – Europe, Trains-n-Trams

[Alan Lloyd]

The “brick” TX units that are meant for the end of a stick mic have XLR ins. Either dial your level way down or put a pad inline on a short XLR jumper and you’re there.

I’ve done this.

The only other advice I can give it this: Test, test, test.

[Ty Ford]

Hi Brian, et al

Most manufacturers have plug on transmitters designed to be plugged into mics. You’d have to be sure to have a non-changing mic level feed, or a line to mic level pad.

I would use short cables to get the transmitters away from the console and possibly up in the air so the space between the transmitter and receiver is unobstructed.

Regards,

Ty Ford

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