Wireless video camera output

[Alex Garcia]

I would like to learn the same???

Alex

[Bouncing Account needs new email address]

I’m going to say that anyone who is “blessed” with working with wireless MICS every day is not going to want anything to do with a wireless CAMERA.

YIKES!

[Erik Mitchell]

Alright.
To expand on what Matte had to say.. Wireless video cameras would suck! the bandwidth required for this would be higher than what technology is out (AFAIK). If there was something that you found, it would be compressing your video which you probably would not really want.
Why do you want these to be wireless? You can just run two video lines to the stage, which in most cases, would be MUCH easier than the configuration time that would go into a wireless setup (assuming there is such a thing!)
Give more of an idea of why you want this; we could probably point out a better solution.

Enjoy.

[Frank Nolan]

It’s not so much a “Wireless camera” that you need but more a wireless transmitter that you could attach to the camera to send a video signal out of the camera to a receiver set up next to your PC NLE. I would call around a few rental houses or broadcast specialty facilities in your area to see what they have available. This link has some interesting products.
https://www.spystuff.com/SHOP/index.html

[Frank Nolan]

[Erik Mitchell] “the bandwidth required for this would be higher than what technology is out (AFAIK)”

Ahh, how do you think you received your television signal before cable or satellite came along?

[Erik Mitchell]

touche

[Bouncing Account needs new email address]

The problem is in MOVING AROUND.
The multi-path (RF reflections and odd signal paths “around” objects) make wireless video very unstable/unreliable.

I say this for MICS as well.
If you want it to WORK… use a CABLE.

I think I need to print and market BUMPER-STICKERS that say,

“Well, it worked GREAT at the REHEARSAL…”

I could make a fortune!

[Stephen Jackson]

I did this last year with the Seagram’s Live tour. 24 cities and 24 different clubs. I use 2.4GHZ transmitters and receivers from Markertek fed the signals into a Tricaster from NewTek and outputed wireless signals to a stage projector and several plasmas located around the venues.

Of course line of sight is important for transmitterws and receivers but it was done very successfully.

E-mail me offline for complete details

Stephen Jackson
RoaDDoggZ productions
http://www.roaddoggz.com

[Bouncing Account needs new email address]

[Dave LaRonde] “Be warned: this is network-level stuff. They HAVE to have a signal from those race cars and those cameras on the convention floor, and they do what it takes to get it… and that means deep pockets. If you’re trying to do it on a shoestring, you can expect big problems.”

Its generally a MICROWAVE signal (like from News helicopters) and it is still very problematic.

No, this is not the venue of the “budget-conscious”.

[Frank Otto]

Generally now, the microwave process used is COFDM, (Coded Orthogonal Frequency Division Multiplexing ) a digital scheme that virtualy eliminates the phenominom know as multiplexing. Once you get a signal lock it stays locked with out ghosting, fade and fall-off. Especially useful in arenas, convention halls and the like.

As Dave notes…this stuff isn’t consumer or even pro-sumer. It will set you back 8 – to – 20k$ per link including secondary control links for iris, ped, gains, return video and p.l.

Even with all the advances, two weeks ago NASCAR couldn’t get the in-car working – the helicopter used as the main recieve unit was grounded due to weather below min. safe ceiling. Rumor is that the in-car guys are looking at using an “aerostat” (a mini blimp with a platform under it) tethered to the ground on by a 900′ cable.

Cheers,

Frank Otto