Best Bang/Buck Wireless audio to camera

[Chris Ratledge]

So I'm working with Comtek PR216 receivers on the cameras, and they are absolutely abysmal quality and reliability getting anything usable.

Through your experience, and for my own kit acquisition, what would you guys recommend for a good transmitter/receiver to use for wireless audio feed from the mixer, with the best bang for your buck? Analog or digital and the pros/cons of each? Something's gotta be a LOT better than the comteks!

Thanks.

[Alex Donkle]

Well ideally you could run the audio into a 744T, and a Zaxcom QRX100 wireless hop.

Do you have a budget in mind though?

[Marc Wielage]

Comteks are not a great choice, but it'll at least get something resembling "sound" to the camera.

I know people who routinely use Sennheiser G2 and G3 systems for scratch tracks, and I think those are a huge step up. When I send wireless to camera, I usually go with a Lectro SR or a Lectro D4, whatever is most appropriate for the project.

[Chris Ratledge]

As an improvment over the Comteks, I've heard of others using the Sennheizer bodypack Trans/Rec as well. That's more along my price range. I'm not going to invest a lot into it. I'd like to keep the single Trans/Rec price under $1000, which the G2/G3 series should do if I recall...

...oh yeah, the Lectros and Zax are WAAAAY beyond my price range. If I was working all the time it would be one thing, but can't justify that expense on audio gear as a DIT right now. That could go to so much other computer/cam gear - if I had it to spend!

[Paul Nordin]

Go with the Sennheisers. I have a 5 year old stereo Zaxcom system which I use some times, but frankly I mostly use a single channel Sernnheiser G3. Sound quality on the compact G3 is more than fine for scratch track, and the battery life is great...a couple of double A Lithiums last all day. The Zaxcom stereo has better fidelity and range, but is bigger/heavier, and the batteries last 3 hours or so.

[Marc Wielage]

...oh yeah, the Lectros and Zax are WAAAAY beyond my price range. If I was working all the time it would be one thing, but can't justify that expense on audio gear as a DIT right now. That could go to so much other computer/cam gear - if I had it to spend!

You could always tell the UPM to hire a location sound mixer who owns their own gear, and have the mixer provide a wireless feed to camera. It seems to me that this is not a DIT function, just as I would hope the sound mixer wouldn't provide hard drives, adjust the monitors, or try to do your job. To me, this is two completely separate sets of responsibilities -- both integral to the production.

[Chris Ratledge]

You could always tell the UPM to hire a location sound mixer who owns their own gear, and have the mixer provide a wireless feed to camera. It seems to me that this is not a DIT function.....

Oh, I totally agree with you Marc, but when I can't count on things being done the way they should be as you suggest, I want to be able to cover my ass. This has been a lesson in practice I will remedy with the next gig. Ah the world of low-budget indies....

[Marc Wielage]

I hear you. On my last gig, I had to help out the video assist guy with two power cords, a BNC cable, and provide him an audio feed. Not a big deal -- as far as I'm concerned, we're all fighting the same battle.

He looked out for me at the end of my shoot, and reminded me I had one more case upstairs that we almost forgot before driving away in the truck. Good guy.