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Everything posted by Bouke

  1. I totally do not understand what you are saying. Avid has mono or stereo tracks (And stereo is only used for already finished mixes). You cannot put multiple input tracks in one track. Could post make screenshots like we're in 1998 or something? Do send me a testfile, I'm a seasoned Avid editor, and I highly doubt this is a bug.
  2. Eeh... if not, it would be a mixdown, right? So I fail to see the problem. Mono or poly is not important, should behave the same. What you can do is a little trick with file names on mono files. sound_04.wav will end up on track 4 in Avid, no matter if it was recorded as track 1 in the recorder. But, don't you have one of the older (known good) files to compare?
  3. Bouke

    Delivering files from multiple recorders

    Had a look at the code, and filenames are retained if the do not conflict with existing files, in which case they get a _new addition. (So indeed to never overwrite existing files, as that would be bad...) Then, today I've added an option to the patch function to omit (leave out) specific channels. (It's more, not include in output.)
  4. Bouke

    Syncing Audio und Video via Metadata TC in Premiere Pro (Tentacle)

    well, there is my LTC convert app that can do so, but that will be at file level (thus, creating new files. Depending on the source / preferences there does not have to be a video transcode.) How many clips are we talking about?
  5. Bouke

    Wave Agent split track with TRACK INFO Name?

    The _number is only for track assignment. (At least in Avid MC) The metadata defines if files belong to a group. (Why the track assignment is not in the metadata is a mystery to me.)
  6. Bouke

    Syncing Audio und Video via Metadata TC in Premiere Pro (Tentacle)

    If the Tentacle was used to feed the TC input rather than the sound input it will be no problem. (Of course if framerates match, otherwise it's still possible but will require some serious cursing.)
  7. Bouke

    Wave Agent split track with TRACK INFO Name?

    That would be a bad idea, as you can't see the track assignment. (And that IS important sometimes.) AFAIK (can't test now), the track names are preserved in the metadata.
  8. Over here these plastic boxes are very popular: https://www.utzgroup.com/en/products/stacking-containers/ Look for the Rako series with lid. (grey / dark grey.) Lightweight and cheap. They are way more sturdy than they look, you can stand on them. The el cheapo looking white plastic closure clips are actually really good. No need for a lock. If you want to ship something, just two tie rips will do the trick. They come in a lot of sizes, all Euro sized, so they stack well in a lot of combinations, also with half open crates from other brands. Foam sized to fit is avaialable in varous thickness. Problem with Pelicase is that it does not stack on anything, and everyone who sees a pelican immediately knows there is something valuable inside. (While the caterer on the job also has these cases for his coffee cups...)
  9. Thank you for that! (I for one do fly my colours.) Bouke
  10. 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
  11. 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
  12. 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
  13. 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)
  14. 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
  15. 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
  16. 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
  17. Oops, my bad. You're totally right of course.
  18. 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 :-)
  19. 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.)
  20. 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.
  21. 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
  22. 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
  23. 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
  24. Bouke

    Zoom F8

    You mean, the same framerate is meant, but they are NOT the same. (I do math with these numbers, and if you use 23.98 instead if 23.976 eg for a correction on the duration of a file, you WILL be off. (That once took me a couple of days to figure out.)) In NTSC framerates, the video is slowed down by 0.1 % So on 23.976 the math is 24 * 1000 / 1001 = 23,97602397602398 that is NOT 23.98 If you use 23.976 you'll be in sync for a long time... (I can calculate how long your show has to be so you would notice that number is not accurate enough either, but this is already over the top :-) Bouke
  25. Bouke

    Cuban Sonic Spying?

    Well, I for one believe the government puts something into the water that makes us believe in conspiracy theories.