[Doug Calhoun]

This is a great site for setup etc.

https://soundandpictureonline.com/2010/12/sennheiser-g3-wireless-system/

[Doug Calhoun]

Hi Ralph,

I’m not understanding your last post, BitVice is standalone so when you output a ProRes QT file, you can’t import it for some reason?

I’ve output both REF files to Compressor and sent Self Contained ProRes Qtimes out and they’ve been compressed in BitVice with no issues.

I love M100 BTW.

Doug

[Doug Calhoun]

Hi Craig,

I’ve just purchased the Senn G3 series moving from an old Sony WRR series system that was in the 700 range. The Senn is very easy to set up and is nice and quiet but doesn’t quite have the range of the old Sony setup. I had a half dozen crackles over two days which aren’t critical as I’m shooting training videos outdoors, at distances that at times push the boundary and they weren’t over audio I needed.

My G3 is in the A range and performed overall very well, was easy to set up and seems sturdy enough for the volume of use it will get. The Sony was built like a tank but it’s easier to change batteries in the Senn and the display on both the Senn trans and receiver are easier to see and thus the menus easier to navigate on the fly if needed. For example, the Sony LED was a very light green or gray color and the Senn is orange and larger, the buttons are more accessible and I could adjust quickly in bright daylight.

Bang for the buck, the Senn is really good, the trans and receiver are a bit smaller but the supplied mount is plastic and the build isn’t as heavy. To be honest, because of the connection type on the Sony mics, I’d likely step up to a Lectrosonics if the Senn didn’t work out, even when looking at other mics, the Senn connection is available on a variety of mics without having to custom wire ends etc.

The Sony gear was good and I have no complaints, but both stock mics are at the very low end so mic connections played a role in my decision as more immediate options are available with the Senn setup. Finding accessories seems easier on the Senn gear as well depending on what mics you use. My local music store stocks some of that stuff- clips etc.

[Doug Calhoun]

I’m curious why not export a REF to Compressor or BitVice or can’t BitVice use a REF movie? Upon exporting a .mov, isn’t it being recompressed at output?

I’ve read below to export to whichever flavor of ProRes for a “master”, but is this recompressed or just “exported”?

[Doug Calhoun]

Thanks Floh, I’ll hook up a drive and test drive it. 😉

[Doug Calhoun]

That’s what I’m using and it’s fine.

[Doug Calhoun]

Thanks Floh, I appreciate your help.

[Doug Calhoun]

Peter, you should be able to see the option under Project Settings–>Codecs once HD is selected. You can also select it when importing via File–> Import and selecting the Media Standard.
~D

[Doug Calhoun]

Thanks Floh and Peter. So if, like Peter, I simply import the footage without selecting “Import Media to the Media Standard and Codec” it simply imports as Media100 HD? I guess I’m unsure why the files size becomes 30% larger…..and whether for that increase ProRes is the better Codec.

I plan on a collect and archive when I’m done and I’m assuming ProRes 422 is ideal?

Thanks in advance….

[Doug Calhoun]

Bob,

I edit on M100Suite 1.5 and own the camera. The files come in once transcoded into the M100 codec. They don’t import like they do in FCP. It’s a painless process but not the same as FCP. The footage looks fantastic- no worries, although I shoot in 720p as that’s the camera’s Native rez.