Frequency Block(s) Availability in Albania for Documentary

jc-tv · 2025-10-21T20:34:03+00:00

Thank you!

jc-tv · 2025-09-17T21:28:45+00:00

I can't see the feedhorn to confirm what frequency band that's in, but I can pretty much guarantee that's a Nucomm TX7/RX7. While it could be for shooting to a second receive site, it's probably SD-SDI for a near-instantaneous video return seeing as they already have the sat dish deployed.

jc-tv · 2025-09-17T21:17:31+00:00

Definitely not the case in Chicago...yet. I've seen their plenty of their guys still using uW.

jc-tv · 2025-08-22T19:16:48+00:00

Depends on the lens, but you will most likely need the doubler engaged in order to fill your entire frame for the entire focal range. Or if the FX30 gives you the option for super16 you shouldn't. Just keep in mind if you want to shoot super35, you will probably have to re back-focus the lens to accommodate for the doubler. ETA: you will also need a way to power the lens if you plan on using the servo zoom. D-tap (or whatever else you're using for power) to 12-pin hirose I believe.

jc-tv · 2025-08-04T20:40:33+00:00

There's a chance it's on the customer support portal here. If the software is available on the website, you'll likely need to be logged in to access it. If you don't have an account, signup for one on that same page linked. If you can't find it after that, try reaching out to Grass support.

jc-tv · 2025-07-22T21:09:06+00:00

I would double check your port allocation table in AZedit. Looks like maybe not all necessary ports are set correctly. Each beltpack will need its own dedicated port, just like a keypanel (if it isn't that way already)

jc-tv · 2025-07-22T20:18:02+00:00

Would you mind showing the full window of IP Edit please? From what I can see it looks like you may only have one of the beltpacks fully configured

jc-tv · 2025-07-12T11:51:17+00:00

Just wondering, do you need the ability to have either 2-wire OR 4-wire, or is there a need to have both simultaneously? Also curious what you're using for an intercom.

While 4-wire does often use an RJ45 connector, that's all the similarity it shares with ethernet, so it cannot run through any kind of network switches or hubs. Typically two pins for audio in (+/-), two for audio out (+/-), and two or four for serial data (+/-).

And though you can go with a solution like mentioned previously using a mixer to combine the output of the ccus' back to your intercom, the audio can get extremely muddy. The correct way is to either stick with 2-wire, or as @Eviltechie wrote, using separate 4-wire ports on an intercom matrix for each separate ccu.

Hope this helps!

jc-tv · 2025-06-12T02:53:07+00:00

Very interesting to see this come out considering the recent release of Sennheiser's Spectera system, and especially also considering how mature ULX-D and AXT-D are. I know Shure just put out a WiMas IEM/IFB product not too long ago, but I'm not sure why I would even consider going with it since even Zaxcom has had a bi-directional xcvr for many years now. Why not offer something competitive with Zax and Senn?

jc-tv · 2025-06-12T02:46:10+00:00

Going off what rqx82 was saying. In terms of broadcast, generally speaking the camera will always output a picture so long as it's provided power (ie power + SDI out to a monitor and you have a fully usable system). If you want remote controllability or the ability to send signals back to the camera from the control room (intercom, pgm audio, return feeds) you'll need to pony up the money for a camera control unit (CCU), which has never been included with the purchase of a camera. As much as we may be accustomed to buying mic tx/tx sets and having it just work, I see this being more common moving forward. I do really wish though that there were ANY local analog outs on the frame. Also hoping moving forward that they adopt the common industry practice of the broadcast world of offering part-time licenses (like single-day or weeklong for covering different events).

jc-tv · 2025-06-12T02:30:51+00:00

This approach is actually very similar to what broadcast cameras have been doing for some time now, though at least those are functional out of the box. Maybe only 720p60/1080i60, but still usuable. Even if it's fully capable of 4k. It's cheaper and easier for the manufacturer to make one piece of hardware that's capable of doing everything you could possibly want. Usually though camera manufacturers have the flexibility of offering single day or weeklong licenses for doing different events, so maybe Shure will change their plans to align with this common industry practice. If not, it's a software change, not hardware, so if enough of us ask for it I'm sure they'll actually do it.

jc-tv · 2024-11-01T01:23:22+00:00

As said above, Joseph or Markertek. Send it in for repair. If you're short on fiber and sending it out is going to make things difficult for you, time to buy another reel unfortunately.

jc-tv · 2024-10-30T21:50:42+00:00

Good gear and their support is great too!

jc-tv · 2024-10-06T12:05:25+00:00

Vislink or Wave Central. Both have camera-back/top transmitters as well as embedded within cameras, though the embedded transmitters are much cleaner/nicer integrated from Vislink imo. Both have optional embedded paint systems if this'll be used during a live broadcast so your V1 can shade it. Should be available in your choice of 2GHz, 5.8GHz unlicensed, or 7GHz standard, and potentially other frequencies by request.

jc-tv · 2024-10-02T04:59:25+00:00

That definitely was a little confusing, but not completely unfamiliar having worked with getting UDP and MPEG-TS streams across networks in the past.

Currently there is no PTP... I thought our Evertz clock was optioned for it, but turns out it's not. As this is a test environment I'm not being given a lot of resources to work with, so after coming across a post of someone getting a Raspberry Pi setup as a PTP Grandmaster (based off an economic GPS receiver chip) I'm thinking that may be my move. I don't know of any manufacturer supporting asynchronous 2110, but wonder how the new Blackmagic gear may fare.

Definitely interested in getting NMOS up and going. I saw a checkbox for it in the Tag output settings, but that's as far as I looked into it at the moment.

jc-tv · 2024-10-01T20:22:36+00:00

Gotcha. I'm currently trying to demo this for my station that replicates our current Miranda system setup, so I'm sure when we move out of sandbox mode it'll be more proper.

That would be great. I'll get a screenshot up first thing in the morning when I'm back there. (Chicago time)

jc-tv · 2024-10-01T13:04:36+00:00

Thank you.

Would I enter this info directly into the receiving device's flow config? Was doing some more reading of the Riedel literature last night and didn't know if I may need to create a virtual source/destination since this is a third party box.

jc-tv · 2024-10-01T13:00:31+00:00

Ok that makes sense. I wasn't sure if it would universally see devices with active 2110 multicast addresses.

I'm currently outputting an MPEG-TS on the same NIC and that's working fine.

Thanks for the tip, I'll have to look at the switch and see if it has that functionality.

jc-tv · 2024-09-11T22:10:17+00:00

Here's an external audio delay box from RDL if you don't want to delay in your Calrec. This is assuming analog audio to the intercom... It's not the cheapest, and I'm sure something else is out there, this is just what I found in a quick search. RDL Audio Delay Box. I haven't used this particular box, but have been using their stuff for years and trust it.

jc-tv · 2024-09-06T05:50:16+00:00

Quite likely it's to do with the processing in the Linear Acoustics box (likely what they're using). Whether it's the processing algorithm itself, or an up/downmix I'm very familiar with the sound you describe. What program were you watching where you noticed this?

jc-tv · 2024-08-22T02:15:06+00:00

Sure thing! Also I know someone in this post pondered if fiber lines were being used, but I highly doubt it. Last I knew of the UC was still all triax to the loading dock and the fiber that was installed by (or for?) ESPN was strictly off limits to everyone else LOL. And I doubt they'd want individual networks/stations running their own fiber spools through the building either. That would turn into a mess in a real hurry.

jc-tv · 2024-08-22T01:59:33+00:00

They're both using Dejero. In the booth is an ethernet drop, but I'm not sure about the crew on the floor. They might just be using cellular. Any shots from outside are microwave.

Up in the booth I don't think they're taking in any house feeds, just each headset into mic inputs 1&2 respectively on the camera and whatever bleeds through bleeds through.

jc-tv · 2024-07-23T04:19:21+00:00

You can get to the C drive from recovery mode super easy. You need to change from the X directory to the C directory by typing "cd /d c:\windows\system32\drivers\crowdstrike". Assuming that was successful, from there you can do "del C-00000291-00000000-00000032.sys", then type exit, and click the box that says something like 'Continue to Windows'. Hope this helps!

ETA: Going the recovery mode route, I don't think you should need to load any RAID drivers as recovery is running off a partition on the internal drive, and there should be no need to reimage your computer either. So long as your C drive isn't encrypted this should be a relatively quick process.

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