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Everything posted by Bouke

  1. 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
  2. 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
  3. 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
  4. Oops, my bad. You're totally right of course.
  5. 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 :-)
  6. 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.)
  7. 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.
  8. 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
  9. 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
  10. 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
  11. 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
  12. Cuban Sonic Spying?

    Well, I for one believe the government puts something into the water that makes us believe in conspiracy theories.
  13. Audio LTC Framerate conversion?

    I would suggest you pass it on with a warning on what happened, so the guy after you has a clue....
  14. Audio LTC Framerate conversion?

    As others have pointed out, there will be no offset, and there is no reason to be afraid of manual syncing. However, it's possible that the software for reading the LTC will flag the TC as 25, thus TC display is off. That's an easy fix, and it hightly depends on the software / settings / workflow if it will be a problem. (I know for sure that my AUX TC reader will handle this just fine.)
  15. Delivering files from multiple recorders

    No, you don't but I can imagine that Nick does something different. (Rolling long takes with his master setup, where some body packs (not master) roll short takes, and might NOT overlap the master setup.) Nevertheless, it now copies / patches all the files, no matter the overlap, and it will set patching correct, and will put everything in the ALE / Sound Report. I've also added warning colors for custom patching / double channel patching. So, new version on my site. There will be more to do. I've got testclips from what I think is a steam powered 844, where chunks are un-even sized in the chunk size, but padded with a zero. (so current version refuses to load them...) That will be fixed tomorrow... Another thing, how do you add comments? Do you have a keyboard attached? I could make something that someone else creates a file during the shoot that can be merged with files so you don't have to worry about that.
  16. Delivering files from multiple recorders

    Hi Constantin (and others) Building in copy of non-merged files now. But, having a bit of trouble on how it should behave. If you use a master folder, If there is no patching, and the 'rogue' files live in the master folder, it's no problem. (the sound report / ALE will report the track names starting from 1 and up number) If there is patching, and the 'rogue' files live in the master folder, there is also no problem as the files will be patched. BUT, if the files live in a non-master folder, what to do? Add silent tracks? Re-assign channel index? (That shows the track name as correct, but Avid does not set the patching by itself, so I doubt that will be useful) Adding silence tracks seems the way to go, but makes for unneeded bigger files. So, what to do? (And the patching becomes really unpredictable if the setup changes inside a batch....)
  17. Delivering files from multiple recorders

    Yes, just try it. But, is an SD card faster / more convenient than a harddisk? Even if you don't have two recorders, just record a clip twice with the same TC (or about, as long as there is overlap it will work.) Or duplicate a clip to a second card. This (and the manual) will answer all your questions!
  18. Delivering files from multiple recorders

    Not yet. We've talked about it to include a 'also copy no-match files' options but I haven't done it yet.\ (It's not that hard though...)
  19. Delivering files from multiple recorders

    1.0.5 is on my site now, with ALE export next to the sound report. (And some info about it in the manual.) I would like some feedback to make this thing a proper replacement for WaveAgent though.
  20. Delivering files from multiple recorders

    Warning, 1.0.3 has a bug where the channels get shifted! So, if you currently have 1.0.3, trash it and get 1.0.4 from my site! https://www.videotoolshed.com/handcrafted-timecode-tools/bwfmerge/ (When adding RF64 support, I needed 24 bytes more in the header, those got trimmed off the sound data. If your output was a multiple of 8 channels, you would have missed one sample, but in all other cases the channels got shifted where the track names stayed intact.)
  21. Delivering files from multiple recorders

    Ok, Version 1.0.3 is now on my site. RF64 support, proper manual. ToDo is ALE. This is not true. (At least not on my Avid.) On Import, BEXT is used, and if XX track names are inside the first 256 bytes of the BEXT chunk, they will import. On AMA link, iXML is used for metadata. But, consolidating a Poly Wav takes way more time than a regular import, hence I will add ALE support. (so you can import the ALE, then batch import the files and the ALE metadata will be used.) Any more wishes?
  22. Delivering files from multiple recorders

    @Nick, Sure, If I understand you right, it can do this. Just get the demo and toy around. @Simon, Afaik, Avid uses iXML when you AMA instead of import. Not sure about the 8 channel limitation, but there is an option to disable stuff from the BEXT chunk to use all 256 chars for track names as much as possible. I'll have some other stuff to do now, will look again in a couple of hours. You can send me testfiles, but why not toy yourself with the demo? (And, if you have files without proper timecode, what do you expect that will happen :-) ? However, I could read TC in filenames, but that will be a different project.) @all, I'm still developing. Current version over here can go over the 4 gig limit by creating RF64 files, and there will be a proper manual. Hope to have a newer version online at the end of the day. To make it clear, you can sync the whole shebang if you don't pick a 'master' folder in BWF merge, or pick a the master as master folder. If you pick the short individual takes as a master folder, (they can live inside different folders if you must), the short clips will become 'master', and yes, the long file will be plucked where needed. The timeline function will show you!
  23. It should be easy... If it's about getting TC input as well, I would think any recording software will do. Just record all your tracks, and record incoming TC on one of the tracks as well. Post processing is needed, but that I can provide. This thing accepts Wave as input, and can output BWF with correct timestamps (subframe accurate!) https://www.videotoolshed.com/product/ltc-convert-auxtc/ Now, this was intended to aid simple post, but I could alter it for you guys so you can also input track names / other metadata. If you need LTC out, that will be a different story. PC's have bad clocks, so LTC out WILL drift like hell. You'll be better off with an external TC generator / lockit / tentacle / yadda as a master clock. Bouke
  24. Delivering files from multiple recorders

    Hi guys, I'm highly interested in the why of ALE use. (Maybe in the old days it served a purpose, but nowadays...) One big problem I've encountered with Avid is the UMID memory. It is hard to test multiple outputs if the UMID does not change, as Avid (thus ProTools as well I assume) will take metadata from it's database rather than the file. That's not bad for normal production, but a PITA when testing. (If you output with Master selected, import that and do the same test again without, you may NOT see what's actually there.) So, next step is to generate a new UMID. If someone has specs on what kind of UMID is used for BWF, please tell me! Meanwhile, version 0.9.1 is out that at least upnumbers the UMID by 1 point from the source UMID (And there are a few other improvements.) Get it here: https://www.videotoolshed.com/product/bwfmerge/ And there are a few screenshots explaining what the 'master' function does. (in short, trimming / padding all extra input to one recorders clip in/out.) Bouke
  25. Delivering files from multiple recorders

    Vale, That is not difficult, but I fail to see the point. Could you elaborate on why you want this? Avid imports a lot of metadata already. What does it not do then so you would need the ALE route? Meanwhile, I have a working version for both Win and Mac. https://www.videotoolshed.com/product/bwfmerge/ Bouke @all, It took some time, as I wanted it to be good, and sample accurate. (And i've managed to do so!) I have a working version. It accepts all kind of input files (mono, poly, even sr / bd can differ), and lets you merge them into poly files. Metadata is retained for all inputs (well, channel name. Comment is taken from the first / most important one.) You can also set the output patching if you want to re-order the tracks. You can choose if you want one recorder to be 'master', and have other recordings trimmed to that in/out, or have (a gazillion) different files, where as long as there is overlap between any files all will become one large one. Multiple stop/starts of a rogue recorder is supported as well! Get the demo, toy with it, feed me with anything you like to see! (It's working, but still I like to add a lot more, but I need input!) Last but not least, should I make a new thread about this? Bouke