Jump to content

Bouke

Members
  • Content count

    48
  • Joined

  • Last visited

About Bouke

  • Rank
    Hero Member

Profile Information

  • Location
    Netherlands
  • Interested in Sound for Picture
    Not Applicable
  • About
    I'm a developer of software tools, both ''off the shelf' as custom work.

Recent Profile Visitors

The recent visitors block is disabled and is not being shown to other users.

  1. Thank you for that! (I for one do fly my colours.) Bouke
  2. Hi John, Since you're not interested in making it interesting, let me piss over it; In the last 12 years I've only seen slates when shot by the clueless. Every DSLR has an internal clock, that can be synced (up to half a second accurate) to the sound device. That is quite some backup. Now, how much video post experience do you have? (Do not answer, this is an arrogant rhetorical question.) Bouke
  3. Hi John, Call me arrogant if you like, and you'll probably be right. But, with 30 years of experience in post, and with all major studios / broadcasters as clients for my software, 'clueless' is not the exact right description. Now, go shout CAMERA / SPEED / ACTION etc in front of a nervous person, then clap, then hand me 2 hours of material on 1 PM that has to air at six. And no, I do NOT want to start a pissing contest, but I am very happy to give my perspective from the post side of things. Bouke
  4. I totally second that. Clap is so 1970... And it's free with the stuff you have, except you perhaps have to create a cable to get BNC to XLR, perhaps attenuated a bit. (Do remember the BNC outputs an ugly blockwave that we call LTC.) Do test, do NOT record too loud, -18 is more than loud enough. (Volume has no influence on the signal, loud causes crosstalk and is highly annoying for anyone who accidentally listens to the track.) When you test, look at the waveform. It should be blockwave. If it is spikey, you have an attenuation problem. (It might still be readable, but it's a road to disaster.) To read the numbers and do other magic, you can use my software: LTCconvert (https://www.videotoolshed.com/product/ltc-convert-auxtc/ ) (For testing your setup the free demo is good enough.) Bouke
  5. Bouke

    Marry takes on 664

    Be aware that BWF sequencer currently does NOT create RF64, so if you're doing more than a few channels, the 4 gig limit will byte you very quickly. (I could add RF64 if needed though.) Another thing, Bwf does NOT have timecode, it has a timeSTAMP. (sample counter)
  6. Bouke

    NEW: Timecode Systems | UltraSync One

    It is probably 100% sync. You can also switch to another format and stay sync. BWF does NOT have timecode, but a timestamp. (48000 samples per second. And a second is a second in all framerates. Calculating that to TC in NDF or 23.976 does give other TC values, but that has nothing to do with sync.) LTC does have a framerate baked in, but a reader will look at the sync word at given time, then calculate the TC belonging to that and calculate the timestamps. (Hence LTC lock is way more accurate than one would expect.) Bouke
  7. Bouke

    NEW: Timecode Systems | UltraSync One

    This is just adding pulldown. So the FPS is 29.97 (frames per second), but since pulldown is added, it's interlaced making it 59.94 fields per second. These cams are steam powered afaik. (The trick was invented to shoot 23.976 on tape that could not hold other framerates.) Bouke
  8. Bouke

    NEW: Timecode Systems | UltraSync One

    I'm just reading this thread for a way different reason, but this is just so fucked up... (Yes, of course sound lines up as there is no speed change anywhere, but the image will be severely damaged.) Bouke
  9. Oops, my bad. You're totally right of course.
  10. Well, If I don't know the fps / sr / amount of drift over what period / if the drift is constant or not, I'd rather not guess what is happening :-) Depending on the amount of footage, I think we all would have fixed it in less time than guessing here :-)
  11. Hi Bash, Well, it's not that if you load a 48.048 clip that it will play at a different rate. It will play at 48.048. BUT (And that is what is happening in our world,) if you record at 48K and THEN flag it as if it was recorded at 48.048, then it will play at a different rate. (Same as shooting slomo, high framerate, tell player to play at normal rate.)
  12. Eeh, Bash.. Since when has sampling rate something to do with drift? (Unless someone changed the sampling rate indicator while not re-sample, thus changing the duration of a clip...) As Nick explained, drift occurs due to non-precise clocks / lack of genlock on long takes.
  13. I'm an editor, and yes, I DO want roomtone. (And want to know where it is.) My work is mostly doc style. I often need 5 seconds to cover / fix an ugly cut, and almost never that can be found in the footage close to the takes used. (I can imagine that's different with drama, but I don't do that.) I don't buy the time it takes on set. Do you know how much time it takes for me (and the director if he's sitting in.) to go to hours of footage to find a tiny piece where everyone shuts up? And then have to loop 4 frames to get 'something' ? It's annoying at least. I don't have a large library of this kind of stuff, I just need to be able to add a pause during spoken text, add tone to a cutaway with no dialogue, that kind of stuff. For what it's worth... Bouke
  14. Bouke

    Underwater Mics

    Mechanical only would work if the membrame is very heavy, and that would make the mic useless in air :-) Frequency I don't know, but I would think that the speed of sound in thin air is the same as in normal pressure. (The sonic boom happens at the same speed no matter the altitude of the plane.) Bouke
  15. Bouke

    Underwater Mics

    I don't know anything about this mic as I'm a software developer / editor, but out of curiosity: How can a mic receive audio in a vacuum? (I know in space it's not a problem in the movies, but this is earth...) Or is there enough air left to carry the sound or does this work on another principle? Bouke
×