[Aaron Leong]

Hey guys,

One of my handheld mics won’t even turn on anymore. Same goes for a 600MHz transmitter and receiver, a 500MHz transmitter and receiver and a couple of them needs new antennas and/or mini connections (the mics won’t screw in).

I’ve tried new batteries, it was the first thing I tried. Other than that, I’m not sure what else to do.

[Aaron Leong]

Hi, thanks for the welcome!!

I’ve got some Sennheiser G2 units that need to be serviced and/or repaired and I’m looking for someone or a company to help me. I checked Sennheiser’s website and the G2s are no longer serviceable, unfortunately.

The only lead I got was Trew Audio but I haven’t heard back from them yet. I’m not sure if they service Sennheisers.

Thank you in advance for any help!!!

~a

[Aaron Leong]

I’ve been shooting weddings since 2002 . . . “fell” into it with SONY TRV-950s, upgraded to Z1Us and when the EXs came out I traded in . . . LOVE the EX series for event coverage. Footage is small, easy enough to use, sensors are decent size for low light (+6db introduces acceptable amount of noise), good DoF for the camera size, long record times, balanced XLR audio, etc.

Since using them I’ve strayed away from on camera lights which are very distracting and changes the mood of the reception entirely.

Audio, I use sennheiser wireless into an edirol R-4 recorder which is very clean and assists us in not missing a beat. 3 mics during the ceremony, 2 wireless taps directly from the DJ or band’s mixer during the reception makes the audio outstanding (if the DJ or band sends a good signal) . . . we also compliment the audio tracks with some on camera audio for ambience in post . . . In case the MC doesn’t warn us ahead of time before starting an event like toasts or the first dance, we can put a title over missing video and would have our cameras up and running within a few seconds.

I’ve shot with DSLRs at weddings and the low light, fast lens combo is EXTREMELY nice!!!!! . . . if you can keep it in focus. Pulling focus on moving subjects without having pre-measured everything is very tough on the fly, all the while trying to maintain shot composition. Also, during the ceremony you have to keep hitting the record button. Kind of annoying. They are great for B-roll shots though!!! . . . hands down . . . pros and cons to working with both, but I love the EX cameras for this type of work.

I’ve done narrative work with the 5DmkII and love the look, but it’s a camera that is easier used with pre-planned moves. Tons and tons of control . . . I don’t like the post process with the 5DmkII, transcoding, etc. just putting it out there.

I’ve also use the Panasonic HVX200 and don’t like the screen, too hard to pull focus on it. HUGE file sizes, sensor is a little small 1/3″, 960×540, with interpolated pixels to make 1920×1080. EX are 1/2″, 1920×1080 . . . well 1888×1080 to be exact but that’s still a lot more pixels than HVX. Keying EX looks just as good as HVX and if you wanted the 4:2:2 signal, bypass the compression using the HD/SDI out on the back of the camera into something like a Nanoflash from Convergent Design. 140mbps usually does the trick . . .

Anyway, this is my experience with it . . . hope this helps!!!

~aaron

[Aaron Leong]

Hi Iain,

I did similar tests when I first received mine and came to the same conclusion. I work with video all day long and the difference is going to be negligible to the lay man. You won’t see the differences until you zoom in or if you’re working with complex images ie. water, WS of trees, waterfalls, sparks, etc. That’s when you’ll notice the 100mbps cleaning up the image a little more than the 35mbps 4:2:2.

And Craig’s right. it will come in handy when doing green screen, etc. I don’t use it all of the time but it does put me at ease knowing it’s there when I need it. Hope this helps.

~aaron

[Aaron Leong]

The nanoflash bypasses the cameras compression to the cards. The HD/SDI out from the camera acquires its information from the sensors, which is why the Nanoflash can record upwards of 35mbps.

18mbps 4:2:0
25mbps 4:2:0
35mpbs 4:2:0
50mbps 4:2:2
100mbps 4:2:2
140mbps 4:2:2
180mbps 4:2:2
220mbps 4:2:2 I-Frame
280mbps 4:2:2 I-Frame

Check out convergent-design.com. They’ve got all the answers you’re looking for.

Personally, I think it’s awesome to be able to get that kind of quality out of the EX series cameras and I’ve had nothing but good experiences with the unit. Thanks Michael Palmer for the recommendation!!

[Aaron Leong]

Hi Andy,

I just got the Redrock M2 Encore, which is cheaper than the Letus Extreme or Ultimatte its also cheaper than the Brevis 35 (full setup) . . . Phillip Bloom reviews this and has many good things to say about it including that it addresses the edge to edge sharpness and vignetting issues that some of the others do not.

I was just on a pilot using my setup plus a couple Zeiss/Nikon primes . . . the results were VERY nice!!!

Here is a little video I did the day I got the adapter. The lens I used for this was the Zeiss/Nikon 100mm f/2.

https://vimeo.com/9169503

much luck in your research!!!

~aaron

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[Aaron Leong]

Hi Ed,

I too use MxR, but was told to use class 6 or higher. I was told that anything lower than 6 would be too slow. As it is, you can’t do any overcranking with 6. I’ve not had any problems with the MxR except when i try to shoot at 60fps. Thats when I get the error message in the middle of recording. Anyway, let me know what you figure out!!

~aaron

[Aaron Leong]

Make sure you haven’t activated the full auto button. Its real easy to hit sometimes and once on, the camera “takes over.” Another thing to check would be the picture profiles. Maybe it is set to a picture profile without intention?? I don’t know. I’m just trying to offer up possible solutions. Keep me updated if you find the problem!

~aaron