Mounting positions and cabling options for Canatrans video transmitters on camera rigs

Gear

ZephyrCan I fly my Alexa or RED on a Zephyr?389

Master SeriesIs a used Master Series rig worth buying as a first big rig?191

BFDHow do I power my BFD receiver from my camera or sled?186

VoltCan I retrofit a Volt onto my existing sled or gimbal?168

ArtemisHow do I power my camera and accessories from an Artemis sled?166

MDRWhere can I mount my Preston MDR on my rig?143

ModulusIs there a Modulus option for HD wireless video?141

G-70Will my G-70 fit my vest, gimbal or sled?126

FI+ZCan I control iris and zoom wirelessly, not just focus?60

HU3Where can I get my HU3 repaired, refurbished or repainted?60

CineLiveHow do I pack and case my CineLive rig for transport?54

G-70XHow does the G-70X compare to Pro Titan, Xarm and other arms?46

Trinity 2Is Trinity 2 SUP 3.0 firmware safe to install or buggy?46

Ultra VestWhich vest should I choose for my body size, comfort and operator type?39

2011Video Assist and Video Accessories forum

15 years old. Gear and prices may have changed since.

Mounting the Canatrans behind the monitor with video output from the monitor to the transmitter and power through D-Tap is a viable setup option.
Direct mounting of the Canatrans on the camera body can cause signal interference, particularly with lower-end digital cameras that have less electrical shielding.
Positioning the transmitter as high as possible on the rig improves signal quality and reduces interference risk.
Mounting the Canatrans on the back or top of the camera body, or using the four-pin Hirose connector on the top stage, are common placement strategies.
The four-pin Hirose connector on the top stage provides an integrated power and video connection option.
Velcro mounting with dovetail plates allows flexible repositioning between high-mode and low-mode configurations.
Some Panatape recorder packages experience display readout interference when the Canatrans is mounted near the recording media, which can be resolved by moving the transmitter to the back of the magazine.
High-end cameras like the Alexa and RED show fewer interference issues compared to lower-end digital cameras.

Interference problems may not be visible until footage is reviewed on larger displays days after shooting.
The mounting solutions described are specific to Archer2 and similar film/digital camera rigs with comparable connector configurations.
Some sleds have different transmitter mounting options and bracket compatibility varies by sled model.
Interference severity depends on camera model and electrical shielding quality.
Low-mode mounting options are constrained by doorway clearance on some shooting setups.