Wireless hop to DSLR?

Is this the PRIMARY audio (i.e. you aren't using some other audio recorder)?
Or are you only using DSLR audio to sync the video to the real audio recording?

Sure, you can use a wireless kit to send audio to a DSLR, no fundamental reason why not.
BUT, you can probably get a halfway decent audio recorder for less than a halfway decent wireless kit.
And there are no DSLRs known to modern man that have decent audio recording quality, so what's the point?
 
Richard Crowley said:
Is this the PRIMARY audio (i.e. you aren't using some other audio recorder)?
Or are you only using DSLR audio to sync the video to the real audio recording?

Sure, you can use a wireless kit to send audio to a DSLR, no fundamental reason why not.
BUT, you can probably get a halfway decent audio recorder for less than a halfway decent wireless kit.
And there are no DSLRs known to modern man that have decent audio recording quality, so what's the point?
Click to expand...

It's gonna be use as scratch track for syncing coming out of sound devices 552 . We shoot a lot of event video where it's mostly short clips. I'm hoping by using hops it'll help plural eyes or even manual sync.
 
I will NEVER, NEVER, NEVER send a guide track to a DSLR, I got caught BADLY once and its never going to happen again.

I got hired to do location sound on a job and record a copy and also send a guide track to the DSLR, when the commercial went to Air I was shocked and contacted the producer that night, his comment was we thought the sound was sort of OK in post prod. so they used it.
With my reputation / career on the line its NOT going to happen again, I have spoken to other local soundo's and they also have had similar problems with guide tracks as it makes it just too easy for others to use the poor quality copy.

I'm happy to dual record on 2 seperate (audio) recorders (client gets one copy / I keep the other) but NEVER to a DSLR. I actually do a backup copy of virtually every video shoot I do these days even direct to 'Top End' Video Cameras,
Buy charging top rates you need to deliver the results, it's often discussed that there is NO backup for the camera lens / pictures..... But thats NOT MY problem I do sound (and my backside is covered).
 
Thanks for your comment Ozgizmo, but I can promise you that they will not use my guide track in finished products. Now, can you advice me on how best to send guide tracks to DSLR?
 
Use a radio mic system, virtually any pro setup will take a signal of mic. Or line level and send it to the DSLR.
The trick will be to get the correct connections to suit your own personal setup. There is little point of telling the exact setup I used as they will slightly different from yours.
Just get the correct levels throughout the entire system from the mixer, the Transmitter, the receiver and finally the camera. Again the exact connections of the gear will be specific to your needs.
 
As mentioned, you will need the appropriate cables depending on the brand of wireless, to match the audio signal levels out of your mixer, For example…. http://www.bhphotovideo.com/c/produ...onics_MC35_XLR_Female_to_TA5_Female_Line.html

Then you will need something like this to get the wireless mic receivers into your DSLR…. http://www.bhphotovideo.com/bnh/controller/home?O=&sku=842095&Q=&is=REG&A=details

Something else to think about, is do you need a wireless confidence hop back to your mixer?
 
I use a G2/3 or a Comtek when sending a scratch track to camera audio. The Comtek's receiver's HP output requires a custom padded cable with the (mic level only) DSLRs though.
Yes indeed, there's the risk a client will use the scratch track. The same goes for using two mics.. boom and lav.. summed together usually results in phase abnormalities, but that still happens as well. Another option is LTC, but many DSLR productions don't know how to deal with it. Clap slates are the norm, but not always prudent on docus. and event type shoots.
 
Richard Crowley said:
And there are no DSLRs known to modern man that have decent audio recording quality, so what's the point?
Click to expand...


Actually by turning the DSLR camera gain down to one notch above zero, it is entirely possible to pump in good sound signal through a decent pre-amp like a juicedlink, Fostex DC-R302, Sound Devices 302, whatever... Properly gained, the audio becomes quite acceptable at that point. This is the principle behind the Juicedlink products and it is certainly more than enough quality for most human voice type situations. As a witness track you could simply use an XLR to minijack cable from the wireless to the mini-mixing device and cable that to your camera. Do it all the time.
 
Yes you can. How exactly depends on what you are going from and what you are going to. Lectrosonics makes a receiver designed to feed a DSLR and small compact video cameras UCR100. That should connect to your DSLR with out a lot of adapters.

Personally I think folks who are trying to control the process after their job is over are chasing their tails. All kinds of horrible stuff happens to your work all the way to the presentation. Unless you are part of the teams all the way to the finish you don't have any control. If I'm a director and I hire you and I want a guide track and you wont do it then I just unhire you and go with someone who will. I do post and when we were doing a lot of ads we generally didn't go to the mix because you would have no say and it will drive you crazy. We often did our own mixes for demo reels. Even on features, it can be very upsetting to go listen to your film in a theatre. The mix was fine, the playback system was all screwed up. That was about 50% of the time in a major market.

And it really doesn't reflect back on you much if at all. Everyone knows what level a pro has over the end product. The only way it impacts is if you want it for your reel (ad companies are the only places on earth that want a reel from sound people). For post folks that isn't so hard because if the mix was trashed we just do our own, for production it's trickier. I would make friends with the post houses so you can get the mix they wanted to do.
 
If he needs to do it, I can't see the point in trying to persuade him. There's no big deal to this at all - any of the popular systems will do the trick. G2/G3 or any other popular brand - line in to the transmitter, output to the camera. No different to those people who want to plug any radio system into a DSLR. The only difference is a non-mic level signal from whatever you are using. The gain ranges on G2/G3 are easily able to manage this kind of thing, just select the correct plug wiring, and adjust a few levels.
 
A Comtek feed works for a scratch track... I do it all the time. As I stated above, the output needs to be attenuated for mic level operation.. a DSRL, RED Epic or Scarlett.
 
Can you guys recommend me which set of Comteks? link to trew audio or B&H would be awesome.

So I would use the Comtek as monitor and as wireless hop. How much range would I have with the Comteks?
 
If you are looking for a low cost wireless hop for in-camera scratch track the Sennheiser G3 will be a much lower cost than going with a Comtek.
 
"So I would use the Comtek as monitor and as wireless hop"
"monitor"? .. the same for client/scripty, director IFB? Yes

"How much range would I have with the Comteks?"
Like any wireless, it depends on the model, antenna system, ect, ect.
A G2/3 system is cheaper yes, but if you already have the Comteks...
 
I've lost the plot now - we were taking audio from a mixer to the camera, now we're talking extra receivers. Just buy more receivers on whatever brand you pick.
 
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