Will Salley
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[Todd Udall] “Will the mixer provide the power necessary? Do I need to be a sound engineer to accomplish this,”
The 302 provides phantom power to the mic and it’s a simple switch on the side of the mixer. The question you need to ask yourself is – Why do I need a wireless link?
All wireless systems have a potential for dropouts that do not exist in a hardwired system…and in the case of your wireless, the EW122, it also has a nasty compander circuit that really introduces a lot of noise into the signal. You also have to monitor at the camera when you do a wireless camera link which usually negates any advantages, such as mobility. If you have multiple systems you could monitor wireless as well but that has it’s own issues.
My advice is to keep it simple and go wired the whole signal path. You still need to monitor 100% of the time, but your recordings will be much cleaner.
When I am asked to use a wireless mixer to camera link, I usually try and talk the producer out of it. If they insist, I make sure it gets monitored on the camera end.
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You need to check the output settings on the Z1. It is capable of down-resing to SD (480i) so it might be shot in SD and possibly in anamorphic, which will look like HDV on your viewfinder. If it is indeed HDV on tape it will be HDV, 1080i, 29.97 from the camera. If the tape is something other than that, it may be able to playback in camera, but not out of the Firewire.
Mac Pro 2×2.8 Quadcore – 10.6.2 – QT 7.6.3 – 22 GB RAM – nvidia8800GT – SATA internal & external storage – Blackmagic Multibridge Pro – Open GL 1.5.10 – Wacom Intous2 tablet – AJA io
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Specifically, the MDR 7506.
https://www.bhphotovideo.com/c/product/49510-REG/Sony_MDR_7506_MDR_7506_Headphone.html
Mac Pro 2×2.8 Quadcore – 10.6.2 – QT 7.6.3 – 22 GB RAM – nvidia8800GT – SATA internal & external storage – Blackmagic Multibridge Pro – Open GL 1.5.10 – Wacom Intous2 tablet – AJA io
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A quality windscreen shouldn’t have any noticeable affect on sound quality. Inferior windscreens can attenuate (muffle) the high-end and some will even squeak when the rub on the mic capsule.
Mac Pro 2×2.8 Quadcore – 10.6.2 – QT 7.6.3 – 22 GB RAM – nvidia8800GT – SATA internal & external storage – Blackmagic Multibridge Pro – Open GL 1.5.10 – Wacom Intous2 tablet – AJA io
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It’s always a GOOD idea to use a good windscreen, but it negates the major advantage of the E6, its small size. If it’s an interior shoot with little air movement and gentle head movement, you can get by with no windscreen – especially when the camera angle demands a discrete mic placement. On exteriors, I would always use a windscreen – the small stock pink thing that comes with the mic is really not sufficient but it’s better than nothing.
Mac Pro 2×2.8 Quadcore – 10.6.2 – QT 7.6.3 – 22 GB RAM – nvidia8800GT – SATA internal & external storage – Blackmagic Multibridge Pro – Open GL 1.5.10 – Wacom Intous2 tablet – AJA io
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I have positioned the mic element about one inch to the side of the mouth in most cases. If the talent has a habit of blowing plosives (like a heavy P), more distance from the mouth may be necessary along with a windscreen.
Looping the cable should not create any adverse effects on the signal but obvious care should be taken not to crimp or pinch it – it is fragile. I use gaffers tape, topstick tape, and hairpins to dress the cable. It may also depend on the transmitter model as some use the mic as an antenna -or they used to with VHF.
Mac Pro 2×2.8 Quadcore – 10.6.2 – QT 7.6.3 – 22 GB RAM – nvidia8800GT – SATA internal & external storage – Blackmagic Multibridge Pro – Open GL 1.5.10 – Wacom Intous2 tablet – AJA io
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There are a many ways to route signals to meet different needs, but there is also a very common practice that may simplify the rig. On the mains, put the best pair (if running stereo) of eq you have, the next best unit should go on the monitors. These do affect the mains and monitors globally – in this case – that’s what you want.. Use these eqs to “balance the room”, meaning that in your situation, you have a fixed installation, and your room dimensions don’t change from night to night. Borrow, buy, or rent a spectrum analyzer or get someone with trained ears to come help. You will find that the room has nodes, or standing waves, that create the feedback and objectionable resonances in your mix. Find these frequencies and use the eq to diminish them. You can’t get rid of them all together but you can get the bad stuff. Go all the way across from 20 -20k and make a note of each notch for future reference. Tune the monitor side first, then front-of-house (without the monitor up). After doing this correctly, If you have any feedback, it is because of simple feedback caused by too much gain. You can use the board eq to help with that, but the best way is to keep the mics out of the monitors. Having the room in balance (also called “tuned”) will make the mix sound better as well as reduce feedback in a manageable way.
Placing an eq inline on each channel will certainly work, but it complicates things when they don’t need to be. And here’s a hint: When using an analog eq and if you don’t have an analyzer, start with everything flat and boost the band to find the offending frequency, then cut it. Start at 1k and go up, then come back to 800 and go down. before long, you’ll develop an ear for identifying the freqs. and it will become second nature.
Mac Pro 2×2.8 Quadcore – 10.6.2 – QT 7.6.3 – 22 GB RAM – nvidia8800GT – SATA internal & external storage – Blackmagic Multibridge Pro – Open GL 1.5.10 – Wacom Intous2 tablet – AJA io
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I’ve been looking for the same thing Joe. Feature-wise, the Manhattan seems to be the way to go but, like you, I don’t have any first-hand experience with the product. I agree the Panasonics seem to be soft. I looked at the Ikan too, they have SDI-HD but they are still 1024×600.
It seems to be a trade off between resolution and SDI.
Post back if you come up with any more info.
Mac Pro 2×2.8 Quadcore – 10.6.2 – QT 7.6.3 – 22 GB RAM – nvidia8800GT – SATA internal & external storage – Blackmagic Multibridge Pro – Open GL 1.5.10 – Wacom Intous2 tablet – AJA io
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Sony models:
DSR-11 lowest price Sony, $700-$1200 used
DSR-25 much better transport, but still affordable – $1000-$2000 used
DSR-45 same as 25 with component outs and timecode i/o – $1500-$2500 used
DSR-1500 best of the half-width machines w/ SDI – $1800-$2200 used
DSR-1800 full-sized with editing capability (something you probably don’t need) – $2300-$3300 usedThere are some other models made for specialties such as medical and police, but these are the most popular models you will find for commercial video production.
When buying a used VTR, remember the single most important figure is the hours on the drum head (drum run). The drum life-span on these machines are usually around 2000 hours, so a machine nearing that will need to have drum heads replaced soon, which costs about $800-$1200, depending on who does it.
Mac Pro 2×2.8 Quadcore – 10.6.2 – QT 7.6.3 – 22 GB RAM – nvidia8800GT – SATA internal & external storage – Blackmagic Multibridge Pro – Open GL 1.5.10 – Wacom Intous2 tablet – AJA io
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[Chris Borjis] “now if you need alpha channel intact (in fcp) on export, then animation
would be necessary.
“Pro Res 4444 has an alpha that plays in real time in FCP (if you have the horsepower). Make sure to select millions of colors+ on the output dialog.
Mac Pro 2×2.8 Quadcore – 10.6.2 – QT 7.6.3 – 22 GB RAM – nvidia8800GT – SATA internal & external storage – Blackmagic Multibridge Pro – Open GL 1.5.10 – Wacom Intous2 tablet – AJA io
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