R-Com Intercom System

digital multichannel intercom 

R-Com is a revolutionary new approach to an age-old problem: 

audio intercom and distribution on Video Assist and DIT carts

This device is in beta stage!

After 5 years of development, we are showcasing R-Com to the grand public. Please keep in mind however, it is in a beta stage, and features, availability and even pricing can change. There might be unfinished parts, such as 3D printed elements, on the photos. If you wish to be a beta tester, please contact us.

About us

Video Assist Hungary is one of the biggest VA and DIT rental house in continental Europe. We do over 400 projects a year, including several A-list Hollywood movies. We are part of Hungary's biggest rental group, from sound stages and cameras to motion control and 3D rigs. We build and use our own rigs, for 14 years now.

The Problem

Movie sets are getting more and more fluid every day. Video Assist operators are setting up multiple video villages, and are in connection with several departments simultaneously. Multiple people are watching different live and playback images at the same time. As a result, the VA operator has to be in constant communication with several locations.

Add to this the problem that VA equipment is required to receive audio from the sound engineer, and either send back playback audio, or even distribute that audio and arrange speakers, headphones or other way for directors, producers or clients to listen on.

After 5 years of development, we present a complete, flexible  system which can do all of this, and more, in a half width 1U rack size, DC powered box, with digital matrix, full size connectors and an integrated USB sound card.




Central station

This central device is the hearth of the R-com system. It has a total of 5 inputs and 6 outputs, an 8x8 digital matrix, an integrated USB sound card, and an OLED display. It also has 8 fully assignable soft pots, and 6 programmable buttons. All controls are lighted for feedback and night operation. The device can be fully customised, with channel names, levels, pot and button layout, input and output types, saved to named presets. The XLR plugs can act as inputs, outputs, or both, in analog or AES/EBU. Connect speakers, radio mics, EPK crew, on-set editor or a music player.

endpoint

You can connect up to 3 endpoints to a central station. A simple 3XLR connection is all what's required for two way audio. The endpoint has optional AB/V-lock battery plates, built in speaker and mic. You can connect an external speaker and one or two mics for better quality and usability 
(digital endpoint shown with optional dual V-lock plates)

analog, digital or custom

You have a selection of digital or analog endpoints. The more economic analog version has minimal features: mic preamp (with PH48) and speaker, plus headphone outputs with volume knobs. The digital version has 3 mics (one built in and 2 external),  internal and external speakers, and can be programmed on a small LCD. 
You can also use a custom cable to attach your own devices, like two-way radios, wireless mics or 4-wire into other intercom systems.

central station features

DIGITAL matrix

The 8x8 matrix allows you to route any input to any output, regardless of its type. It gives the R-Com Central its unique flexibility. You can send clean or playback audio, with or without your voice, any way, any level.

Flexible connections

Input or output, analog or AES/EBU, unbalanced or balanced, mic or line level, 48V phantom, grounded or ground lifted, one or two-way, XLR, 6,3mm or 3,5mm jack. Whatever you need.

1U, half rack

Size matters. With a half rack width and 1U height, the R-Com barely takes up more space than the audio card that is likely already on your cart. Its also in a sturdy metal box, with no fans or cooling required. The optional rack ears can go either side.

usb sound card

You do not need to carry an external audio box for Qtake any more. Integration means its directly fed into the matrix, without any audio loss. The two USB channels are treated separately for more flexibility.

OLED DISPLAY

The 256x64 pixel graphical display makes it easy to see what is happening, or navigate the extensive menus. The menus follow the presets, plus shows VU levels and the position of the encoders

SOFT KEYS and pots

No two shows are the same. That is why you can customise the layout. Any encoder can control any in or output, and any button can be a talk, mute, or even recall. They also have multicolor LED light.

name crosspoints

There are 72 points in the matrix where you can adjust audio levels. In custom presets, you can assign any of them on the soft encoders. You can attach, edit and save custom labels to all pots on the main screen for easier use.

Presets

For easy shows, select the built in presets. The channel names are fixed, and engraved on the back. Advanced users can go full custom, and save settings for the next show, or switch between them after a take. You can always start from an easy preset and build from there.

INTEGRATED OSCILLATOR

Integrated test tone generator can help you quickly find audio problems and set levels in the tent. 

prefade listen (future expansion)

Listen in on any input without assigning it to an output, or even setting the volume. Sound engineers call this PFL, and it will be available from the Mixer page.

built in usb hub

R-Com has an onboard USB hub! If you connect the mini USB to your mac or pc, the two outputs will activate. Perfect for your Qtake dongle! 

LINK connection

To use the endpoint, you have to set the XLR in LINK mode. This is a special two-way audio connection over a standard 3XLR. However, you can also use a splitter, which converts a LINK into a separate input and output

digital Endpoint features

Flexible power

Put the endpoint between your monitor and AB/V battery. It will pass power. Or power it from a D-tap into its Lemo plug. Or plug a mains adapter in the monitor cart and it will be always on. 

timed mic kill

Tell your clients to push the Kill button for privacy. Set a timer, so they wont leave it off for the next take!

more microphones

Select between the built-in mic, XLR input with or without 48V power, and TRRS jack with mic (like an iPhone headset)

USB charger

Utilize the USB connectors on the endpoint as a phone charger for your clients

Digital noise reduction

With integrated Expander, Compressor and Gate, adjustable in the menu, you can eliminate noise near the village

integrated display

A small graphical LCD helps to navigate the menus, and display VU meters and the Kill function

multiple outputs

Select between the built in speaker, XLR or the headphone output, with separate mute and level controls

built in oscillator

Integrated test tone generator can help you quickly find audio problems and set levels in the tent.

Menu simulator

R-Com central station is a very flexible, complex system with a lot of options. These options are accessed thru the menus and the mixer pages shown on the OLED page. To make the learning process easier, we created a simulator of the control surface. 

R-Com manual (beta)
R-com manual (2).pdf

Interesting use cases

90% of the time, a device is only used with its basic functions, the way it was intended to use. The remaining 10% is what really tests a system's flexibility, and how it adapts to a new challenge. We gathered our top VA operators, and asked them to tell a story where they were in a pinch audio-wise, and then we thought how R-Com can handle those. Here are a few examples:

Record the countdown

Are you on a vfx shoot with no sound dept, but the stuntman wants to record their countdown? Set the central's or endpoint's input to mic with 48V phantom power and record set noise! No external mic? Route the integrated microphone in the digital endpoint to the USB card and into your recorder, so you can tape the set audio!


pre/post 

You need to send live audio to the clients, zero delay, and mute the director, then switch to playback with delay? Set up two presets, one where the client gets a straight feed and director gets nothing, and one where they both get the Qtake feed. Set a button to recall each preset.

director and dit tents

Does your DP wants to hear the director, and they are in separate tents? Route the director’s endpoint mic back to the DP’s endpoint speaker. Put a mute  on one of your buttons so you can kill it while recording.


too many villages

Do you have an endpoint in the directors tent, one on an onset monitor plus a radio mic on a wireless monitor and don’t know where your director is talking? Press TALK ALL to answer to all outputs. Don’t forget to disable TALK to the USB channels and the one going to the sound mixer, so they are never disrupted.


wireless headphones

Want to wear a wireless headset and leave the cart? Plug it into an input and/or output, name them, and send your director's mic to your wireless earphones. You can add the playback audio to your headset too, to hear the ADs. Or mix your lapel mic over the Comtek to speak to the scripty on the cans.


stereo rushes

Is Editorial pissed because they take away your files and you record a mono audio only on the 1st channel? No need to recable, just route the same feed from the sound guy to both USB channels.


commentary track

EPK turned up and wants to record the audio from the directors tent? Give them a mini-jack feed to their wireless transmitter, and set it as a direct clean feed from your endstation. Don't forget to warn the boss.

stereo workflow

Suddenly in need of stereo recording? Route two inputs to the integrated stereo sound card, and use two XLR outs to feed stereo to your director - and you can talk on either or both ears!. You still have 4 more outputs, and you can mix the two channels into a mono mix for the scripty on one of them, and listen to the director on your speaker.

timecode on audio

Do you need to record an external timecode onto qtake? Route the minijack input to USB channel 2, and plug the SMPTE TC into it. Now you have it in the file, and you can send it to an external machine, like a lighting desk.

Technical details

Central station

  • connectors:
    • IN1: 3XLR female/6,3mm jack combo connector
      • analog line level balanced input
      • analog line level unbalanced input
      • analog line level unbalanced, gnd lifted input
      • analog mic level input
      • analog mic level with 48V phantom input
      • AES/EBU digital input
    • IN/OUT 2-5: 3XLR male connector 
      • LINK (two-way)
      • analog line level balanced input
      • analog line level unbalanced input
      • analog line level unbalanced, gnd lifted input
      • analog line level balanced output
      • analog line level unbalanced output
      • analog line level unbalanced, gnd lifted output
      • AES/EBU output
    • IN 5: 3,5mm TRS jack
      • analog line level balanced input
      • analog line level unbalanced input
      • analog line level unbalanced, gnd lifted input
    • OUT 5: 3,5mm TRS jack
      • analog line level balanced output
      • analog line level unbalanced output
      • analog line level unbalanced, gnd lifted output
    • OUT 6: 3,5mm TRRS jack, mono unbalanced
      • headphone level
      • individually mixed, or follows OUT 5
    • mini USB in: 2x2 channel, Windows and MacOS compatible, max 48kHz/24bit
    • 2x USB-A out: hub function from mini USB in 
    • DC power: 2pin Lemo, 10-30V, arri pinout
    • ethernet: for future expansion
  • built in mic (programmed from the matrix)
  • Size: rack <1U, half width (209Wx245Dx35H mm)
  • Weight: TBD
 

Digital Endpoint

  • connectors:
    • XLR OUT: 3XLR male connector
    • MIC IN: 3XLR female connector
      • Phantom power on/off 
    • LINK: 3XLR male connector (two-way)
    • HP: 3,5mm TRRS jack
      • headphone level
    • DC power: 2pin Lemo, 10-30V, arri pinout
    • 2x USB-A: 5V power output only
    • ethernet: for future expansion
  • V-lock battery plate, male and female
  • built in speaker 2W
  • built in onboard mic
  • size: 161x111x39 mm

measured audio performance:

  • THD balanced in to balanced out: 0.008%
  • THD balanced in to unbalanced out: 0.016%
  • 0..-1.5dB from 20Hz to 20kHz
  • noise level typical: - 78dB on analog

ANalog endpoint

  • connectors:
    • XLR OUT: 3XLR male connector
    • MIC IN: 3XLR female connector
      • Phantom power on/off
    • LINK: 3XLR male connector (two-way)
    • HP: 3,5mm TRRS jack
      • headphone level
      • with mic input
    • DC power:2pin Lemo, 10-30V, arri pinout
  • V-lock battery plate, male and female
  • size: 161x111x39 mm

measured audio performance:

  • THD balanced in to balanced out: TBD
  • THD balanced in to unbalanced out: TBD
  • 0..-1.5dB from 20Hz to 20kHz
  • noise level typical: TBD


Send a message

Contact us

 
address

Pallag u 39

Dunakeszi

2120

Magyarország

 
email
 
Phone (GMT+1)
+3630 203 3251

© R-Provideo, Balazs Rozgonyi