Camera Rig and Audio Bag Setup for Documentary Shoots - Orca 332 + Deity Theos

[@glb6065]

Excellent set up. I thought I was organised but you've taken to another level and one that I'll definitely take on.

[@CedarSpringWolf]

This is such a helpful video. I want to design a setup just like this.

[@johanwagner_sweden]

17:45 sorry mate I have nothing to add and I learnt a lot. This is KZbin at its best. Thanks for sharing.

[@MaineMountainMedia]

Loved this video, great looking sound bag! I got a few ideas from watching this. The clamp with phone mount is definitely going on my sound bag right now!

[@matt.banton]

Thank you, love the rig and audio setup. Never see the ‘out’ labels on the boxes, so simple, but genius, will definitely do that too!

[@KaarloMedia]

Suberb information in a very condensed package! I think being organised is half the cake, just gives you that piece of mind to focus on all of the other million things on shoot.

[@JoshuaKirkNZ]

Organisation gives back a lot of headspace for sure. I hate that ‘where did I put that’ feeling on set.

[@ashley.caldwelldp]

Love everything about this mate. Full credit for showing some love to audio!

[@JoshuaKirkNZ]

Audio is key 👌

[@jarradmeney6793]

Fantastic video and set up. Love the work you guys do! Very inspiring 🙌

[@scotey]

What a run of super informative videos. Thanks, Joshua! I may have to watch this one a second time. Not sure that I grokked how you're getting scratch audio back to the camera. But what a setup. You guys are so thoughtful and organized with your gear.

[@JoshuaKirkNZ]

Sorry I ran over that without explaining. The ZoomF8npro recorder can output different mixes out of each of the main outputs. Each output is plugged into to a deity transmitter. On the camera side the deity receiver is picking up the signal from the transmitter and is plugged into the microphone input of the camera (line level signal). On the other output from the Zoom you could create another mix that the camera operator is listening to, or the director, or client. They can use the same deity wireless receivers and plug in headphone.

[@scotey]

@@JoshuaKirkNZ Seems like a superb setup. I don't think I've seen anything like it on YT. I can only imagine the trial and error required to achieve this amount of redundancy and flexibility.

[@darianjones3268]

Such sick setups!! Thank you for all the information you provided,

[@isaacbedford3644]

I reccomend the NTG5 or Deity S-mic3 for a shotgun upgrade. For a boompole any type of right angle xlr one from K-tek will work great. Very lightweight.

[@Bradwoodnz]

This is super informative! Loving your work Josh.

[@JoshuaKirkNZ]

🙌

[@aaroncollins9189]

Always such good info in your videos! Loving the insight you bring!

[@JoshuaKirkNZ]

Cheers!

[@Shauny_D]

I’d love to see some of your techniques you use to lav up talent. There are always new and interesting ways to do it

[@kirbypfilms1]

Thanks Joshua 😎

[@DigitalCreations2012]

Excellent breakdown, wish I was 50 years younger

[@nebukadnezzar3578]

Very cool insights! Massively helpful! 🎉🙏👍

[@JoshuaKirkNZ]

Thanks

[@itamareyal6118]

That is very imppresive!

[@mountrainiermediaproject903]

Great video. The only improvement I'd suggest is Sennheiser 416's all around. I have rode shotguns which sound great but the Sennheisers have that little bit of reach and clarity the Rode's do not. I lived in Washington DC, LA, and NYC and the only issue with your rig is I'd be worried about RF and terrestrial microwave hits. I understand you are recording in the wireless but by your description you have a ton of data management at the end of the day. I appreciate it, but all that could add an hour when you could be eating, in the pub, or sleeping. But all said, love your thinking and bag set up. Really appreciate the video send for the audio guy. Good teamwork. I've been a career cameraman but now I'm forced to do one man band for 90% of my work. I miss having an audio person. If money were no object, I'd have a simple audio bag built that was mostly hard wired so you could just grab it out of a case if you had RF issues. Washington DC is the worst city Ive ever shot in for RF. London is probably bad too. It's all the spying. Good luck. I'm gonna watch other videos of yours.

[@JoeTheViewer]

Spying? 😆

[@The-Logician]

I like your setup on the audio bag, very efficient. I rig my audio bag fairly similarly, just different bits and pieces for the recorder, receivers, but same efficient methodology with a single battery powering up everything in the bag, I do have a couple questions and comments: 1) I find the Rode filmmaker receivers power down automatically when plugged into usb power. Do you experience the same issues? Do you still keep AA batteries in the rode receiver while powering over USB. I moved to Sennheiser G4's with dummy batteries powered off the central power distribution box in the bag and never have issues with them. 2) I would caution about using wireless back to the camera exclusively for scratch audio, or are you still using the in-built microphone on the camera to audio channels 3/4 or 1/2 with the wireless hop back to the camera with the mono signal, into the other camera audio channels etc? If your wireless fails for any reason back to the camera, you still need to be able to record scratch audio for sync without other forms of backup (timecode). I might be more inclined to put the shotgun mic or some other higher quality external mic directly into camera for the scratch audio. I do understand your desire to mix the shotgun into the mix at the bag.

[@jhonesreece4946]

I like your tutorial 🎉🎉🎉 very good tutorial bro thanks 🎉🎉🎉

[@JoshuaKirkNZ]

🫡

[@GusAlZabri]

Amazing Video: I love the out labeling idea. I have a question. Which sound on the camera do you on the F8? Do you monitor only on cam mic or do you monitor the sound that you are feeding to the camera from the F8?

[@nathanabrahams5305]

I spotted this and was "BYE FALICIA" to the previous video I was watching.

[@KedarBhatlive]

Superb... Thanks for sharing

[@JoshuaKirkNZ]

Cheers!

[@simpleObserver100]

Thanks for the vid man! I am in the process of getting more gear for doc style shoots with a small crew as well! have a few questions though...... what matte box is in the video? what happens when you have the directors monitor set up and the sound guys monitor setup... is there a monitor for the camera man? which monitors do you prefer? again, thanks for the vid man!

[@markusrydberg]

Great video!

[@JoshuaKirkNZ]

Cheers Mark

[@JoeTheViewer]

Nice 👍🏼

[@arnewinterboer201]

Hi Joshua, well done! „Boys and their toys…“ I have however a question about the signal routing of the „scratch audio“ from the cam. You mentioned, that the signal isn‘t routed into the cam, as „others“ do, but transmitted to your mixer (I expect a slight delay) and then after mixing be transmitted back( with another slight delay, I assume) and THEN into the camera. But way later you speak about redundancy and mention, that you have a backup of the „scratch audio of the cam mic into the camera“. My first Question would be, if the main workflow is to route all audio signals into the camera (I guess the Ursa has 4 audio channels) and then you can skip the syncing process? Or is everything relying on the DEITY TC1 and you sync the recorded material from the mixer (more channels, more bit?) and the „rest“ is just redundancy? I was just curious, how to treat the transmission delays. May be a bit to nerdy question… Anyhow greetings from Bremen, Germany.

[@BarryMaskell]

Nice

[@JoshuaKirkNZ]

👌

[@Shauny_D]

Does the dji transmission from camera include audio? We were looking at switching to dji from teradek for several reasons but one is scratch audio from camera to client monitor without needing an extra tx/rx

[@DigitoralMediaProd]

Love this! Great information. What country are you in? I’m in the US and our Theos cannot record and transmit.

[@JoshuaKirkNZ]

We are in New Zealand! Yeah that’s a shame - I think it’s because Zaxcom have a patent for that tech.

[@noranoskyle4417]

Would the theos be great for livestreaming on a c70?

[@neonmammals]

Out of all the gear youre showing, im keen to know where you got that small adjustable spanner? haha. been looking for one of those for my kit and can only seem to find the annoying worm gear kind (im NZ too so local link if you have one would be great!)

[@neonmammals]

Ah. all good. Found them. Knipex Plier Wrench XS 100. not cheap but it looks like exactly the tool ive been wanting for the kit.

[@JoshuaKirkNZ]

@@neonmammals that’s it. I ordered mine off Amazon and it was much cheaper.

[@neonmammals]

​@@JoshuaKirkNZ Yeh, saw that! almost half the price compared to locally! ordered! thanks!😅

[@mannatuu]

Looks like you are building in complexity. How much of this is tech for techs sake?? All that wifi /bluetooth yuck !....I like to keep it simple... as long as the basics are covered it's all in post from then on.

[@JoshuaKirkNZ]

I appreciate this, definitely don’t want tech for tech sake (although sometimes it’s cool 😁). For me the wireless screen is essential for client and directing (I’m coming from the perspective of being a camera op / directing, moving into more audio). We could drop timecode, but having timecode and digital slate saves significant time in post. I don’t think anything is Wifi… All the deity units are UHF. Only thing I can see being an issue is syncing the audio and timecode units all with the Sidus App on the phone (Bluetooth). If this fails I can always do this manually on the units. What would you change?

[@mannatuu]

@@JoshuaKirkNZ it's too easy to fall into rationalising " I need this and that " and I'm as guilty as anyone. It's a discussion everyone has with them self.