Teletest Telesend HD LCD receiver Review


Jon Boast TV-Bay Magazine
Read ezine online
by Jon Boast
Issue 90 - June 2014

It was towards the middle of last year that I reviewed my Teradek Bolt HD wireless system for TV Bay magazine. I commented then, that monitors are about the one thing that cameramen use day in day out, wireless ones particularly. Even these days you change your camera from day to day, one day you may be out shooting on an XDCAM, then a C300 or an Alexa. Invariably though as an owner operator your monitoring systems stay the same for those shoots.

My Teradek Bolt is still going strong, and Ive found its the perfect combination with my 17 Sony Oled monitor in a controlled environment. When the director wants to be more mobile and free, I still dont find myself using the Bolt that often with my 8.4 Oled Monitor, as its all still quite cumbersome and cable heavy. On such an occasion, I still find myself using my trusty Transvideo 2.4ghz SD wireless monitor system.

When Nick at Teletest asked if I wanted to try out his new HD all in one wireless monitor system, I immediately thought that this could be it. The answer to many of our prayers, a monitor that adopts the transvideo built in monitor/receiver scenario in a HD package. The key to a system like this to be a success, is a monitor and receiver that doesnt have a mess of cables to break, is compact and light enough to keep the director happy all day and a good solid picture so the director or PD doesnt panic when the picture drops out. Have Teletest succeed with what they claim is the first product on the market of its type?

My first experience of Teletest was 14 years ago, whilst working as a trainee in a facilities company. We had several of their 2.4ghz wireless systems, it was the earlier days of wireless monitoring and directors were still used to lugging around a 9 CRT monitor. So the Teletest, and then Blackbox options new to the market were a welcome arrival. Their products seemed well made back then, reliable and I know several cameramen who still have Teletest 2.4ghz tx and rx in their kits. If something was to go wrong in these kits, invariably it was a powering cable or BNC running from the receiver to the monitor. Teletest then released the first monitor with an internal 2.4GHz receiver then, paving the way for many other similar monitors. Such as the Transvideo, which arguably gained such a strong market position in later years, cornering the market in a 2.4 receiver system with no additional cables and a built in receiver. Less things to go wrong on a shoot.

The first thing you notice when unpacking the kit, is unlike other monitor kits, everything has been thought about and included within the simple plug and play package. The kit is already in a flight case of its own. All be it not a peli, but none the less; there is no reason to rush out and buy a case; which is so often the case with any new kit. The monitor comes with its own directors carrying case/rain cover, a strap and there is even a lighting stand included that can be used to mount the monitor on, Nick at Teletest states this is particularly useful if you are in a environment whereby you arent moving much and you want to keep the receiver in line of sight to the transmitter for optimum performance. Not something I feel I would use that much with this type of monitor, its more designed for my kit as a confidence monitor for a director on something where mobility is always key. If the director was fixed to the same spot, wed probably have the budget for the 17 monitor.

The transmitter feels robust and has the design form similar to the IDX Wevi system, on a large ENG camera, it sits between the battery and the camera. Size for me is a slight issue, in a world of every changing camera sizes, I like the Bolt for its compact transmitter size and I did find the Teletest sender on my c300 rig did add more length to the set up. Reassuringly much of its size must be down to the flat triangular aerial sitting on the top of the transmitter, which did prove helpful in range on a later shoot. The system is based around a HDMI system, which initially worried me as HDMI carries with it a prosumer stigma but I suppose why not use an uncompressed HD signal that HDMI can carry. The unit is available in both HDMI and HD SDI inputs, and I think that some of the size of the transmitter in the SDI version is down to the electronics (dont ask me what.) that is used to convert the HDMI jiggery pokery into from the SDI signal. Certainly you notice the small but discreet HDMI plug which runs down the side of the transmitter.

Upon my first shoot with the system, the additional dtap that the transmitter provides came in handy and also the SDI version has an SDI loop through for feeding other monitors or an EVF perhaps. Id requested the vlock version as this works with all my cameras, but Teletest will ship them with any battery connector, Vlock, Anton Bauer etc etc

One thing that I was surprised with, was that the SDI version I borrowed didnt carry audio embedded in the SDI signal. Im used to other SDI systems carrying audio and the director being able to plug cans into the monitor a very handy feature. Ive been informed though that since I borrowed the monitor, Teletest have taken the feedback on board and the monitors are now shipping with embedded audio. Great news and proof that a company like Teletest will listen to users and implement changes quickly.

I had the opportunity to use this on a few shoots and all in all I was impressed with its performance. Ive owned an IDX Wevi before, and now the Bolt and I would say that it stands up very strongly to both of these in terms of range. I certainly found that directors were impressed with the picture quality and seeing things at full quality for a change rather than in SD 2.4ghz technology. Its still has the problem every HD system like this has, that when your signal drops out, the picture disappears (instead of breaking up like 2.4 ghz) it often stays out and a restart of the tx or rx is required for them to lock back in again. Ive found that this immediately causes panic for many directors who start yelping, lost picture, lost picture.. I suppose benefits of an analogue 2.4 system is the picture doesnt tend to drop out completely, rather more flicker. The directors enjoyed having it around their neck, commented on the picture quality and they couldnt meddle with any of the settings, thanks to a blanking plate covering the monitor controls. I did find that when I needed to check my brightness and contrast etc, removing the said blanking plate wasnt a quick on location job, so perhaps a quick release version in later models would be good. (again after reviewing this, Teletest have taken this feedback on board, and now ship with quick release thumb crews. Good work again Teletest.) The picture was sharp, certainly enough for focus pullers I would imagine and had a great picture. Crucially with zero delay on the picture. I felt that sometimes the picture had a slight magenta hue on the one I had but this seemed to disappear once the monitor had warmed up and been on for a few minutes.

One of the shoots we took it on, we found ourselves filming in Richmond Park, a perfect place to test its line of sight range. We were very impressed as you can see from the Wheres Wally style photo (image top right), spot the assistant and monitor. We calculated that the picture remained rock solid at about 40-50 metres. Would you ever need to use a directors PSC system like this over that sort of range, perhaps not, but its great to know that its possible.

On another shoot I was filming in a commercial kitchen in a much smaller space than Richmond Park and we found that the monitor lost sync a few times, particularly when the director put his back to camera. Its hard to say if this was just due to restrictions on the environment, given its good performance earlier that week in Richmond.

Once the directors had gotten their head around not panicking when the picture dropped out, they were very pleased with their new monitor. Its also reassuring as a cameraman to glance at a monitor quickly that is a close representation to what you are shooting, rather than a low quality directors monitor that we are all used to.

What does strike me, is when you by the Telesend, you would be buying British, the reassurance of buying something thats built in the UK and has the back up and after sales that would almost be one to one. I am sure Teletest would deal with a technical issues and you can probably speak to the guys who designed it directly.. This is more than what probably can be said for other larger international Monitor companies, whom youd never speak to the main person. This home built product point, does mean that the finish on the tx and rx looks a little more, how should I say, boutique than perhaps a more mainstream product but this doesnt effect its performance in the field. It seems solid and would stand up to a few knocks on location.

The entire kit, thats the rx & tx, case, stand and monitor, with the vlock plates is £2150 + VAT. Thats not bad when some competitors, would charge near on that for the rx and tx alone and not the physical monitor too.

All in all this monitor and wireless kit performed well. It was tidy of cables (none really other than then BNC.), and seemed to perform well. Some directors found the cutting out of the picture when it loses sync was frustrating and admitted to prefer the analogue monitor system. But when it worked well, they were very happy with It. The kit itself aesthetically, is no apple design icon, but you are supporting and getting the service from a British based company, and there is something nice about Buying British. The transmitter doesnt get anywhere near as hot at the Bolt does and as such doesnt have a fan that makes a noise like the Bolt, and this must be down to the extra space in the TX to dissipate the heat. Its a great price point as a directors monitor but one downside is it does mean your wireless system is rooted to one monitor, should you decided to use it with a 17 monitor or in a studio environment. It does now ship with an SDI or HDMI output, so it can be plugged into a 17 monitor to receive a picture, it just means you need to mount the teletest somewhere when doing this. All in all if its a tidy HD directors monitor you are after, then this is suited as Teletest had set out to. No hassle plug and play system.


Tags: iss090 | teletest | telesend | lcd receiver | hd | review | Jon Boast
Contributing Author Jon Boast

Read this article in the tv-bay digital magazine
Article Copyright tv-bay limited. All trademarks recognised.
Reproduction of the content strictly prohibited without written consent.

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    Phabrix TAG and Rx at IBC 2015

  • Dejero at IBC 2015

    Dejero at IBC 2015

  • NOA Audio Solutions at IBC 2015

    NOA Audio Solutions at IBC 2015

  • Dedolight at IBC 2015

    Dedolight at IBC 2015

  • Kino Flo Select at IBC 2015

    Kino Flo Select at IBC 2015

  • RTS at BVE 2015

    RTS at BVE 2015

  • Sachtler Bags at BVE 2015

    Sachtler Bags at BVE 2015

  • Litepanels at BVE 2015

    Litepanels at BVE 2015

  • LCA - Inteca products at BVE 2015

    LCA - Inteca products at BVE 2015

  • LCA - LITEGEAR at BVE 2015

    LCA - LITEGEAR at BVE 2015

  • ERA - Cloud Services - at BVE 2015

    ERA - Cloud Services - at BVE 2015

  • PhotonBeard - HMI Blonde - at BVE 2015

    PhotonBeard - HMI Blonde - at BVE 2015

  • TMD at BVE 2015

    TMD at BVE 2015

  • Glensound at BVE 2015

    Glensound at BVE 2015

  • Portaprompt at BVE 2015

    Portaprompt at BVE 2015

  • AVIWEST at BVE 2015

    AVIWEST at BVE 2015

  • Tiger Technology at BVE 2015

    Tiger Technology at BVE 2015

  • Guntermann and Drunck at BVE 2015

    Guntermann and Drunck at BVE 2015

  • PhotonBeard - LED Redhead - at BVE 2015

    PhotonBeard - LED Redhead - at BVE 2015

  • ERA - Adobe Anywhere - at BVE 2015

    ERA - Adobe Anywhere - at BVE 2015

  • Brainstorm Multimedia at BVE 2015

    Brainstorm Multimedia at BVE 2015

  • LCA - Snapgrid lighting control - BVE 2015

    LCA - Snapgrid lighting control - BVE 2015

  • Sachtler Tripods at BVE 2015

    Sachtler Tripods at BVE 2015

  • JVC at BVE 2015

    JVC at BVE 2015

  • EditShare at BVE 2015

    EditShare at BVE 2015

  • Grass Valley at BVE 2015

    Grass Valley at BVE 2015

  • Cavena Image Products at BVE 2015

    Cavena Image Products at BVE 2015

  • Autocue at BVE 2015

    Autocue at BVE 2015

  • NETIA at BVE 2015

    NETIA at BVE 2015

  • Movidiam at BVE 2015

    Movidiam at BVE 2015

  • AntonBauer at BVE 2015

    AntonBauer at BVE 2015

  • Rosco at BVE 2015

    Rosco at BVE 2015

  • Gearhouse Broadcast at BVE 2015

    Gearhouse Broadcast at BVE 2015

  • CameraCorps at BVE 2015

    CameraCorps at BVE 2015

  • PlayBox at BVE 2015

    PlayBox at BVE 2015

  • NUGEN Audio at BVE 2015

    NUGEN Audio at BVE 2015

  • KITPLUS rig setup at IBC 2014

    KITPLUS rig setup at IBC 2014

  • PAG talk about flying with batteries at IBC 2014

    PAG talk about flying with batteries at IBC 2014

  • Philip Blooms recommendations at IBC 2014

    Philip Blooms recommendations at IBC 2014

  • Polecam Antelope Pico at IBC 2014

    Polecam Antelope Pico at IBC 2014

  • BroadStream ARMADA at IBC 2014

    BroadStream ARMADA at IBC 2014

  • BroadStream OASYS at IBC 2014

    BroadStream OASYS at IBC 2014

  • BroadStream CURRENT at IBC 2014

    BroadStream CURRENT at IBC 2014

  • BroadStream HARBOR at IBC 2014

    BroadStream HARBOR at IBC 2014

  • Panasonic show VariCam at IBC 2014

    Panasonic show VariCam at IBC 2014

  • Thomson Broadcast at IBC 2014

    Thomson Broadcast at IBC 2014

  • Dalet at IBC 2014

    Dalet at IBC 2014

  • Glensound Dante at IBC 2014

    Glensound Dante at IBC 2014

  • Tedial at IBC 2014

    Tedial at IBC 2014

  • NOA Archive Solutions at IBC 2014

    NOA Archive Solutions at IBC 2014

  • Phabrix RX series at IBC 2014

    Phabrix RX series at IBC 2014

  • Forscene at IBC 2014

    Forscene at IBC 2014

  • RTW at IBC 2014

    RTW at IBC 2014

  • Tektronix at IBC 2014

    Tektronix at IBC 2014

  • Clear-Com LinQ at IBC 2014

    Clear-Com LinQ at IBC 2014

  • Clear-Com FreeSpeak II at IBC 2014

    Clear-Com FreeSpeak II at IBC 2014

  • Ross Video Acuity at IBC 2014

    Ross Video Acuity at IBC 2014

  • openTruck from Ross Video at IBC 2014

    openTruck from Ross Video at IBC 2014

  • WohlerGateway at IBC 2014

    WohlerGateway at IBC 2014

  • Wohler MPEG Monitoring Series at IBC 2014

    Wohler MPEG Monitoring Series at IBC 2014

  • Air Alloy Tripod System from Miller Fluid Heads at IBC 2014

    Air Alloy Tripod System from Miller Fluid Heads at IBC 2014

  • CueScript EMC prompter and control surface at IBC 2014

    CueScript EMC prompter and control surface at IBC 2014

  • Hive Lighting Wasp Plasma Par at IBC 2014

    Hive Lighting Wasp Plasma Par at IBC 2014

  • Cooke Optics technology at IBC 2014

    Cooke Optics technology at IBC 2014

  • Cooke Optics talk anamorphic at IBC 2014

    Cooke Optics talk anamorphic at IBC 2014

  • JVC GY-LS300 prototype at IBC 2014

    JVC GY-LS300 prototype at IBC 2014

  • Photon Beard Platinum Blonde at IBC 2014

    Photon Beard Platinum Blonde at IBC 2014

  • Photon Beard Photon Beam at IBC 2014

    Photon Beard Photon Beam at IBC 2014

  • MultiDyne SilverBACK at IBC 2014

    MultiDyne SilverBACK at IBC 2014

  • Dejeros products at IBC 2014

    Dejeros products at IBC 2014

  • Zylight Fresnel updates at IBC 2014

    Zylight Fresnel updates at IBC 2014

  • Pronology at IBC 2014

    Pronology at IBC 2014

  • TMD summarises their work this year at IBC 2014

    TMD summarises their work this year at IBC 2014

  • Thomson Video Networks at IBC 2014

    Thomson Video Networks at IBC 2014

  • BBright at IBC 2014

    BBright at IBC 2014

  • WORK Microwave at IBC 2014

    WORK Microwave at IBC 2014

  • EBS at IBC 2014

    EBS at IBC 2014

  • Visual Unity at IBC 2014

    Visual Unity at IBC 2014

  • KITPLUS at IBC 2014

    KITPLUS at IBC 2014

  • Comigo at IBC 2014

    Comigo at IBC 2014

  • AVIWEST at IBC 2014

    AVIWEST at IBC 2014

  • Viaccess-Orca at IBC 2014

    Viaccess-Orca at IBC 2014

  • Harmonic at IBC 2014

    Harmonic at IBC 2014

  • Guntermann and Drunck DP-HR range at IBC 2014

    Guntermann and Drunck DP-HR range at IBC 2014

  • SIS LIVE ManPak and LoStow at IBC 2014

    SIS LIVE ManPak and LoStow at IBC 2014

  • Cobham satellite EXPLORER products at IBC 2014

    Cobham satellite EXPLORER products at IBC 2014

  • Fibrenetix with StorageDNA at IBC 2014

    Fibrenetix with StorageDNA at IBC 2014

  • Cinegy at IBC 2014

    Cinegy at IBC 2014

  • Front Porch Digital at IBC 2014

    Front Porch Digital at IBC 2014

  • TMD Mediaflex at IBC 2014

    TMD Mediaflex at IBC 2014

  • TMD at IBC 2014

    TMD at IBC 2014

  • Pixel Power Buzz at IBC 2014

    Pixel Power Buzz at IBC 2014

  • Blackmagic MultiView at IBC 2014

    Blackmagic MultiView at IBC 2014

  • Telestream Wirecast and Switch at IBC 2014

    Telestream Wirecast and Switch at IBC 2014

  • Telestream Vantage support for DPP at IBC 2014

    Telestream Vantage support for DPP at IBC 2014

  • Facilis at IBC 2014

    Facilis at IBC 2014

  • Fibrenetix with Quadrus at IBC 2014

    Fibrenetix with Quadrus at IBC 2014

  • Sonnet Technologies Thunderbolt Chassis at IBC 2014

    Sonnet Technologies Thunderbolt Chassis at IBC 2014

  • Volicon Products at IBC 2014

    Volicon Products at IBC 2014

  • Volicon at IBC 2014

    Volicon at IBC 2014

  • NewTek TalkShow at IBC 2014

    NewTek TalkShow at IBC 2014

  • Blackmagic and Fusion at IBC 2014

    Blackmagic and Fusion at IBC 2014

  • Metus at IBC 2014

    Metus at IBC 2014

  • ChyronHego Metacast at IBC 2014

    ChyronHego Metacast at IBC 2014

  • ChyronHego Lyric PRO at IBC 2014

    ChyronHego Lyric PRO at IBC 2014

  • Sonys new cameras at IBC 2014 - including the FS7

    Sonys new cameras at IBC 2014 - including the FS7

  • Tally Technologies at BVE 2014

    Tally Technologies at BVE 2014

  • Autoscript at IBC2011

    Autoscript at IBC2011


Related Shows
  • NAB 2014 Summary Show

    NAB 2014 Summary Show


Articles
What content providers need to know about OTT
Hiren Hindocha As OTT (Over-The-Top) technology has gotten more mature and established robust standards over the years, the concept of OTT monitoring is gaining popularity. With customer expectations soaring, it’s vital for OTT providers to deliver superior quality content. To deliver Quality of Experience (QoE) on par with linear TV broadcast, the entire system, starting from ingest to multi-bitrate encoding to delivery to CDN must be monitored continuously.
Tags: iss134 | ott monitoring | qos | logging | compliance | dash | atsc | cloud | Hiren Hindocha
Contributing Author Hiren Hindocha Click to read or download PDF
Giving Welsh sport a global audience
Adam Amor From the Ospreys Rugby Union team, to the Football Association of Wales, as well as national cycling, swimming and boxing coverage, Port Talbot based Buffoon Film and Media has been heavily involved in putting Welsh sports on the world stage.
Tags: iss134 | blackmagic | atem | buffoon | micro studio camera | Adam Amor
Contributing Author Adam Amor Click to read or download PDF
An Obituary to Timecode
Bruce Devlin - new A stoic and persistent character that stubbornly refused to change with the times, Timecode has finally passed on, but no-one has noticed. A long-lasting industry veteran, Timecode was brought into this world at an uncertain date in the late 1960s due to the needs of analogue tape workflows and the demand for synchronisation between audio and video devices. A joint activity between SMPTE and the EBU led to the work on Time and Control codes starting its journey to standardisation in the early 1970s.
Tags: iss134 | timecode | smpte | ebu | edit | Bruce Devlin - new
Contributing Author Bruce Devlin - new Click to read
Accelerated Workflows with eGPU
Mike Griggs From the UK’s National Trust to magazine publishers to manufacturers, digital content creator Mike Griggs has a wide and varied portfolio of clients for whom he creates 3D art, motion graphics and multimedia exhibits. A typical day might involve sampling birdsong near Virginia Woolf’s country estate or creating 3D animations for VR. To keep on top of these demands, Griggs wanted to take the full power of the GPU computing revolution on the road.
Tags: iss134 | sonnet | egpu | amd | post production | editing | Mike Griggs
Contributing Author Mike Griggs Click to read or download PDF
GoPro HERO 7 Review
Tim Bearder When I heard I was filming a nature restoration project in the pouring rain this week I was excited. WHY? No Cameraman enjoys the rain, surely but this time I was enthusiastic because I knew this would be the perfect opportunity to try out the brand new GoPro Hero 7 Black Edition.
Tags: iss134 | gopro | hero 7 | review | liberal media | Tim Bearder
Contributing Author Tim Bearder Click to read or download PDF