Camera Operator Uses Point Source Audio to Stay at the Top of His Game

Petaluma, CA — July 7, 2015 —Cliff Fegett is the founder of Time Capsule Productions in San Antonio, and works as a freelance camera operator with the San Antonio Spurs, additional NBA teams, and other live broadcast events. He has the challenging job of coordinating all manner of sensory input during these live broadcasts. And even though his camera work is a visual medium, his success as a camera operator is highly reliant on the audio—the critical audio feed he needs to hear from his directors amid the deafening roar of fans. He solved one of his greatest work challenges when he started using Point Source Audio’s CM-i3 dual in-ear intercom headset.

Working a live broadcast show typically involves using camera and audio gear that is supplied at the location. Those headsets are usually single-muff for handheld cameras and double-muff for hard (or buildup) cameras with a high lens magnification. Typically with broadcasts of this magnitude, coordinating between cameras as well as broadcasters requires two audio sources. With the single muff headset, both the camera PL and the program audio are isolated in the left ear only. PL is the intercom channel that allows the director and camera operator to communicate, harkening back to the old “party line.” The program audio is the audio actually being televised. “It’s imperative that camera operators can clearly hear both audio feeds during the broadcast so they can chase what the announcers are talking about—timing is everything” said Fegett.

Point Source Audio’s CM-i3 dual in-ear comms headset is available with a variety of XLR connectors compatible with popular intercom systems such as Clear-Com, RTS, and Telex; as well as a 3.5mm phono plug for comm apps on iPhones and smartphones. Fegett uses the 5-pin male stereo option to mix two channels of audio—a definite plus he feels over the headsets supplied at the venue that restrict operators to use only one ear for multiple inputs. Fegett was delighted to discover that with the CM-i3 headset he could operate the camera and have the stereo audio split or mixed. The CM-i3 allows for the use of both ears, generates better audio quality, and supports a wider frequency range.

“After years of working with inferior headsets supplied with the camera, I discovered the CM-i3 allowed me to hear a fellow camera operator for the first time clearly—an astounding moment!” raved Fegett. At loud events, the comms audio input has to be channeled at high decibel levels into the single earmuff—which is the only headset option if the camera operator has to keep one side of the head open in order to see into the viewfinder. “With the CM-i3 in-earphones, I am able to lower the overall volume level during the show, and the sound quality is actually better,” Fegett added, “and my left ear isn’t ringing when the show is over saving me from hearing damage.”

The patent-pending slim-line headset weighs only 2 oz. and the lightweight and low-profile aspect of the in-earphones allows Fegett to use his handheld camera while actively running and bending over without worrying about the headset falling off. Equally as important he states, “I’m no longer exposed to someone else’s germs from prior use. The Point Source headset is well made and allows me to change out the earbuds if I need to. I enjoy my CM-i3 headset and recommend it highly to other comm users who must hear clearly.”

More information about the CM-i3 comm headset and Point Source Audio’s other industry-leading audio solutions can be found by visiting www.point-sourceaudio.com.