[Alana Curtis]

Thanks so much for your response! It looks like we’re going to save up for a solution when the next budget rolls around. I will be holding on this forum for safe keeping!

[Alana Curtis]

Awesome, thanks for the great info!

[Alana Curtis]

I’d have to check to see the exact model, but we have a Sennheiser kit that includes two mic/transmitters and receivers, along with a plug-on transmitter (I think it’s probably the ew 100 G3 combo). Basically all I’m asking is how/where (in relation to the location of the booth and camera, generally speaking) do I set up the antenna; and whether I need to do anything with the antenna to make sure it’s picking up the appropriate channel, etc. Or do, I just set up the transmitter and receiver as usual? Like I said, I’ve never worked with an antenna before so I honestly have no idea what I need to do with it.

[Alana Curtis]

Well I am no engineer, so soldering my own cables is probably not a good option for me! But these antennas seem to work well, are relatively inexpensive and I see them on the field all the time.

If I get something that already has all the necessary cables and whatnot, how would I go about configuring the antenna and getting sound to my camera?

[Alana Curtis]

We will be shooting in a variety of locations around the country, so I’m not sure which block to look for. In fact I’m not sure what that means! What does the block mean, and how do I go about finding out which one I require?

[Alana Curtis]

We use the Adobe Production Suite (CS6). Syncing wouldn’t be such a huge problem if we weren’t pulling shooting and pulling individual clips, whereas the audio recorder would be rolling the entire time. I looked into recorders that can generate timecode, which would help, but those are incredibly pricey.

[Alana Curtis]

Thanks for your input. The problem is, I have a pretty massive amount of footage–over 600 gigs, and it will probably end up being closer to 800. What should I use to re-transcode the footage? And might it be easier to change the 1920 to 1440 since most of it’s in 1440?

[Alana Curtis]

Yes, I’ve reformatted several times, making sure it was mac os. I’m just going to exchange it for a new one…

[Alana Curtis]

Thanks for your response!

All I’m trying to do is log and transfer right now, and I can’t even get past that without it FCP crashing. I’m using university computers, so I will try logging and transferring onto the desktop hard drive and then dragging the scratch folder over to my hard drive…but that is a huge pain, of course. Could there be a problem with the hard drive and how it’s formatted, or is it definitely just because of the USB? I want to be sure before I go wasting more money on a firewire port for a drive that doesn’t work…

[Alana Curtis]

Thanks for the responses. To be honest, I’m not sure what the target format is–all I know is that I shot in AVCHD. I have a 1TB Seagate GoFlex Desk drive. I’m using school computers at Colorado State University, so I’m going to try and transfer to the footage onto the desktop hard drive (which is working fine so far) and then drag all the folders to my external hard drive. It doesn’t seem like I should have to do it this way…

I’m not sure what format I shot it in…when I look at the clip properties in the transferred clips it says 1440×1080, and the compressor is Apple Pro Res 422.

If it isn’t the USB cable, what else could it be?