Re: Wireless return w/ Zaxcom



Sebastian Dunn wrote:
Having found out that when purchasing a Zaxcom ENG stereo system, I
should seperate the blocks between my lectrosonics mic's and the
Zaxcom, my next question is what about a wireless return for
confidence recording. I would never give that responsibility to the
cameraman. Does one just trust the audio is all there or can one
listen somehow by putting a transmitter on the camera as well.

Sebastian

Since everybody's talking about it, I sense some missing information. Here's the scoop on the new Zaxcom system, and perhaps a few marketing tips on how you might convince clients (and camera ops) of the added value afforded them and why it's worth a few extra bucks.

The new TRX system is very different from the original Stereoline system. The TRX is a three piece system -

1. main audio transceiver/recorder. This is the talent or bag transmitter & return audio receiver. With the stereo input adapter, the same unit transmits and records two audio channels.
*UPSHOT 1: in your bag, you have one small, light weight device with a very modest power draw to transmit and record two audio channels, and receive high quality camera confidence return. It can easily be converted to a mono microphone transmitter.
*Upshot 2: on the talent is a small, light weight belt pack which is a true digital transmitter AND time code stamped iso channel digital file recorder.

2. main audio receiver. It receives mono or stereo audio from the transceiver.
*UPSHOT 1: A single receiver on the camera for two audio channels. Half the bulk, weight & power draw.

3. IFB /time code /remote control transmitter. This unit transmits IFB or camera return audio plus time code for the recording. It can also remotely control several transceiver functions. It runs on external 12VDC and has two balanced line level inputs, summed internally to mono. It transmits a digital, 2.4GHz spread spectrum signal. The range is less than the main audio transmission, but enough to carry most situations. You can have confidence that when you have reached the fringe of IFB range, the main audio will still be clean. An externally mountable antenna with gain is also available for increased range.
*UPSHOT 1: Transmitting audio and time code digitally from the camera allows the recordings in the transceivers to start & stop with Rec-Run TC.
*UPSHOT 2: IFB transceivers are channel agile and can be grouped, allowing multiple IFB channels. In this way, the stereo transceiver in the audio bag can hear camera audio, and with additional IFB transmitters, talent an hear other audio sources.
*UPSHOT 3: With an IFB transmitter in the audio bag, the mixer can remotely control talent transmitter parameters such as input gain and HP filter -during a live take if necessary. Even transmit frequency can be changed, all from a distance without the talent being aware.

Additional benefits:
1. Whenever you use multiple transmitters in close proximity, intermodulation between transmitters is a concern. Built-in receiver scanners are a help, but not really a substitute for running complicated calculations (via computer software) for determining where the third, fifth, etc. upper and lower harmonic frequencies of each and every transmitter are (in addition to walkies and nearby commercial broadcasters), to determine which frequencies are best to use. This is true of all fixed frequency transmitters, audio and video.
*Unique to the Zaxcom system, no such calculations are necessary if all your audio transmitters are from Zaxcom. You only need to space each transmitter 1MHz apart from each other. PLUS, using the stereo transmitter conserves RF channels, as both audio channels are carried on a single RF channel.

*MARKETING TIP: This is more than a convenience to the audio op on a multi-transmitter show, it is insurance that intermod will not interfere with your transmissions. On projects with more than 2 or 3 Tx's (ie: unreality shows), frequency coordination is imperative. The fact that the Zaxcom's are digital receivers and deaf to analog modulation interference should be extremely important to the client.

2. My perception is that doing backup recordings has been reduced to a mere convenience or a safety net for the audio op, partly due to the reduced cost of digital recorders of late. I have to ask WHY?

*MARKETING TIP: In my view, backup recordings are insurance for the client. Not from bungling by the audio op, but from equipment or technical failure from any number of causes. This is a valuable asset! Like production and liability insurance, 29 times out of 30 the backup may never be required. But that one time could save a lot of ADR fees or an entire production day. Always do it, archive it, and bill for it (they pay for insurance even when nothing goes wrong). And if the client won't pay for it up front, keep it and make sure they know you have it. When you get the call, charge triple!

3. Using other recorders capable of time code, keeping in sync with Rec-Run requires a lock-it system or a tc transmitter and receiver (another RF device to coordinate frequencies). The Zaxcom system's auto-load function starts & stops the recording in sync with the camera.

4. The 24bit /48kHz Zaxcom recordings will be superior to camera tracks.

5. On multi-Tx projects, you end up mixing mics due to camera track limitations.

*MARKETING TIP: With an iso recording of each talent mic, camera tracks could be considered primary, with the iso recordings as backup. Or treat the iso recording files as primary. Drop them into the editing time line (in sync w/ video) and the editor can do the mix without concern for the problems of editing simultaneous talkers. MORE ADDED VALUE! Bill for it!

Marty Atias
ATS Communications
http://ATSComms.com/zaxcom

BTW, We did the first studio installation of the TRX system with IFB and it works beautifully.
.

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