Zaxcom ZFR100 Available????
- Thread starter ptalsky
- Start date
BTW, I still think this device has a play in the low budget world as a way to augment wireless. I can very easily see hanging one of these on every actor and just letting it run. If I want to incorporate the lav dialog in the dailies mix, I could just hang one of my trusty G2's off the ZFX. Not an ideal solution (but I do know that most actors I have worked with, including myself (when I'm on that side of the camera) would not have a problem wearing two packs if the sound person tells them that is what they need to do. Many would not even know the difference, since they have never been wired before.
So the workflow, roughly speaking would be to jam the recorder(s), wire the actors, let them run (supposedly 12 hours on a 2GB SD card), and at the end of the day, pull the chips, and burn it to a DVD-R/RAM/+R and hand it off. Then they just have to synch the timecodes, which are on the slate anyway, and since all the chips will have the same timecode embedded, piece of cake.
Benefits: No drop outs or RF hits, lower cost than Zaxcom or Lectro 4xx wireless. Zaxcom in the past has held up well in terms of resale value.
Negatives: In the low budget world, they are still not up to speed on multi-track of any kind (in most cases), little or no upgradeability, higher battery usage.
I would probably still buy one with the stereo option to use as a backup in my bag when doing ENG-direct to the camera work.
Phil
So the workflow, roughly speaking would be to jam the recorder(s), wire the actors, let them run (supposedly 12 hours on a 2GB SD card), and at the end of the day, pull the chips, and burn it to a DVD-R/RAM/+R and hand it off. Then they just have to synch the timecodes, which are on the slate anyway, and since all the chips will have the same timecode embedded, piece of cake.
Benefits: No drop outs or RF hits, lower cost than Zaxcom or Lectro 4xx wireless. Zaxcom in the past has held up well in terms of resale value.
Negatives: In the low budget world, they are still not up to speed on multi-track of any kind (in most cases), little or no upgradeability, higher battery usage.
I would probably still buy one with the stereo option to use as a backup in my bag when doing ENG-direct to the camera work.
Phil
Tim,
I'm not set on this...That's why I started this thread.
What kinds of problems do you see with this? Obviously, the Tx/Recorder combo is a better option, but also completely out of my budget for now (I want to get a 744 first). Amazing isn't it? A 744 and one Zaxcom Tx/Rx combo are the same price (roughly).
Phil
I'm not set on this...That's why I started this thread.
What kinds of problems do you see with this? Obviously, the Tx/Recorder combo is a better option, but also completely out of my budget for now (I want to get a 744 first). Amazing isn't it? A 744 and one Zaxcom Tx/Rx combo are the same price (roughly).
Phil
Dave_Fisk
Well-known member
I think the cool thing here is that it's another tool that's different from what other manufacturers are doing. If it works for you, great. If something else works better for you, great. We all work differently, and I'm happy to see all different kinds of products out there rather than just a few.
-Dave
-Dave
wabbit
Evil has Ears
I have no doubt some guys will buy and like this product Oleg. That does not discount the questioning of the value of what it does for how much it costs.
We all know insanely expensive wireless are but they do what they do and we need them to get the job done. So we suck it up and shell out the cash. Ultimately we pass this cost on to the client who is paying for the service. But many of us operate primarily outside clients that will pay for equipment on the level of DEVA and Cantars. At this level, we still got $20,000+ in our bag but adding another 5% to that without fulfilling a definite need is not a throw away decision.
I would love to have the Zaxcom ENG wireless but frankly my clients won't pay an extra $100 a day for digital quality wireless to camera. At least not enough of them to own it. For the few times I get clients of that type I do what we tell the posters in here to do and rent. Of the 20 plus sound guys in Seattle I know of 4 who have Zaxcom wireless and none that own a DEVA. Seattle is a pretty average video/film market as US cities go so I feel pretty safe assuming outside LA, NYC, and other first tier film cities (SF, Chicago, Miami, etc) that is pretty much the norm in the US.
Heck, about half of the guys here have not even made the switch away from DAT yet. Would a digital NL recorder serve them better, sure, but their clients aren't demanding it and they would rather take their family on a nicer vacation then shell out cash for something that is not needed yet. Believe me I often goad them about coming into the 21th century but I completely respect their business decision. To that end I am still struggling with many clients who would rather have a DAT at the end of the day. It's a constant sales job.
While not trying to speak for all of us who earn a living at this level, I fail to see what the zfr100 would add to my bag that makes it worth that much. I have misjudged the market before and perhaps I am now but that is just how I see it. To those who do back to back Hollywood features, heck yeah, I would be fully stocked on Zaxcom too.
Personally, I will be saving that cash to try out the Ricsonic wireless when it comes out. Now that is a product that if it works as promised has a lot of bang for the buck.
Cheers
We all know insanely expensive wireless are but they do what they do and we need them to get the job done. So we suck it up and shell out the cash. Ultimately we pass this cost on to the client who is paying for the service. But many of us operate primarily outside clients that will pay for equipment on the level of DEVA and Cantars. At this level, we still got $20,000+ in our bag but adding another 5% to that without fulfilling a definite need is not a throw away decision.
I would love to have the Zaxcom ENG wireless but frankly my clients won't pay an extra $100 a day for digital quality wireless to camera. At least not enough of them to own it. For the few times I get clients of that type I do what we tell the posters in here to do and rent. Of the 20 plus sound guys in Seattle I know of 4 who have Zaxcom wireless and none that own a DEVA. Seattle is a pretty average video/film market as US cities go so I feel pretty safe assuming outside LA, NYC, and other first tier film cities (SF, Chicago, Miami, etc) that is pretty much the norm in the US.
Heck, about half of the guys here have not even made the switch away from DAT yet. Would a digital NL recorder serve them better, sure, but their clients aren't demanding it and they would rather take their family on a nicer vacation then shell out cash for something that is not needed yet. Believe me I often goad them about coming into the 21th century but I completely respect their business decision. To that end I am still struggling with many clients who would rather have a DAT at the end of the day. It's a constant sales job.
While not trying to speak for all of us who earn a living at this level, I fail to see what the zfr100 would add to my bag that makes it worth that much. I have misjudged the market before and perhaps I am now but that is just how I see it. To those who do back to back Hollywood features, heck yeah, I would be fully stocked on Zaxcom too.
Personally, I will be saving that cash to try out the Ricsonic wireless when it comes out. Now that is a product that if it works as promised has a lot of bang for the buck.
Cheers
wabit , if you have lectro , you dont need to replace it with zaxcom , that is not the point .
the point if you making decision what is the easiest way to work and carry as less as possible -then it completely different world .
the different between 411 and the zaxcom is 3000us
so it 10000 for 4 411 systems or 13000 for 3 lectro and 1 990 + stereo receiver
if you take it as 3 year project ( as i take my equip)- this is 1000 per year -80us per month
now - if you take extra for every wire you need for the job , you need 3 days a month to match the sum ( and iam not talking that you have recorder in the bag already ) , so
who's win ectually ?
risonix is nice - it just work in 15 meter rang - so actually not something i can live with
the point if you making decision what is the easiest way to work and carry as less as possible -then it completely different world .
the different between 411 and the zaxcom is 3000us
so it 10000 for 4 411 systems or 13000 for 3 lectro and 1 990 + stereo receiver
if you take it as 3 year project ( as i take my equip)- this is 1000 per year -80us per month
now - if you take extra for every wire you need for the job , you need 3 days a month to match the sum ( and iam not talking that you have recorder in the bag already ) , so
who's win ectually ?
risonix is nice - it just work in 15 meter rang - so actually not something i can live with
timapter
Veteran
phil,
the market and level i work in is not one that would readily accept multiple audio sources for synch - we still use the Z1 primarily on many shows rendering jammed timecode more or less impossible. this means that external devices like these would add heavily to the import workload of the editor - more and more if we have multiple recorders working on a scene.
to me it seems like placing too many eggs in too many baskets, and putting a g2 onto the recorder seems to me to be a bit of an overkill - surely one 411 would give you audio that would rival the recording? surely those odd audio hits that require a retake are worth the paper work and timecode pushing of synching so many devices?
i know where you guys live and work, the timecode locked workflow is much more common. here in SA, it isnt really, so this product doesnt have great appeal to me.
the market and level i work in is not one that would readily accept multiple audio sources for synch - we still use the Z1 primarily on many shows rendering jammed timecode more or less impossible. this means that external devices like these would add heavily to the import workload of the editor - more and more if we have multiple recorders working on a scene.
to me it seems like placing too many eggs in too many baskets, and putting a g2 onto the recorder seems to me to be a bit of an overkill - surely one 411 would give you audio that would rival the recording? surely those odd audio hits that require a retake are worth the paper work and timecode pushing of synching so many devices?
i know where you guys live and work, the timecode locked workflow is much more common. here in SA, it isnt really, so this product doesnt have great appeal to me.
wabbit
Evil has Ears
Oleg 2 said:
I am considering it for a wireless cam link. Seeing as I am almost never more then 20-30 feet from the camera when it's rolling I think it could work. I certainly won't be the first in line to take the plunge but am anxious to hear other people's experience when it is available.
I bet there is a better chance of you owning a Ricsonix then me owning a zfr100
then you will need 2 like that that that is more then 3 grand by the way i dont think ill buy zfr , i see it good for someone who dont have any recorder at all , i prefer gear that would serve me in more then one way so the 990 is my favorite to have extra small recorder wireless package ,not to mention it would be extra nice for car interiors mounting shotes .and ad i always says - the best investment for soundman is a video camera . buy the hvx 200 for 5 grand and rent it with your package for 100 - you will make more money then on any wireless you have