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Everything posted by Bouke

  1. 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
  2. Cuban Sonic Spying?

    Well, I for one believe the government puts something into the water that makes us believe in conspiracy theories.
  3. 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....
  4. 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.)
  5. 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.
  6. 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....)
  7. 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!
  8. 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...)
  9. 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.
  10. 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.)
  11. 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?
  12. 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!
  13. 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
  14. 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
  15. 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
  16. Delivering files from multiple recorders

    Guys, I just made something that can do exactly this. (It works under lab circumstances here.) Input mono or poly files, output one big poly. It does not matter if the files start at the same time or not. Track names / other metadata is retained, in both the BEXT and iXML chunk. @pindrop, if you can elaborate on what you wolud like to see, I can probably build it in. You can reply here (so others might add,) or drop me a line directly. I hope to have a beta version on my site tomorrow. Bouke
  17. Delivering files from multiple recorders

    Well, I would think to just strip the beginning of the files, since they start at about the same time. (Less work :-) Then, altering the track names in the BEXT and Ixml is doable as well, but the venim is in the tail: What to do with the UUID's? What output filename? And, while I'm at it, what else could be handy that WaveAgent does not do? (I could create sound reports in other formats than PDF, or make a customized PDF with your logo, etc..)
  18. Delivering files from multiple recorders

    Hi Contantin, I'm afraid it is a bit more difficult. If two recorders are used that start at 'about' the same time, it's not always that they know about each others existence, is it? So, the metadata of the files from recorder 1 contains other info than the metadata of recorder 2 So those have to be merged. Then, that metadata lives in both the Ixml as well as in the BWF chunk. (Where the timestamp is the least of my worries.) And of course, chances are big that the poly goes over the 2 gig limit, so that will be fun as well. That's why I would like to see some real world files :-) Bouke
  19. Delivering files from multiple recorders

    Well, BWF isn't that hard to alter. If someone can send me some testfiles, and you all write specs on what a new app. should be able to do, I can make something. https://videotoolshed.wetransfer.com/ Making multiple files match in duration / start is not that difficult. Renaming is also not the issue. What I need to know is what to expect, and what metadata lives where, has to be (auto) altered, and perhaps other stuff I don't get. (Mind you, I'm an editor and coder, not a sound guy.) But I don't get the Poly part when you're talking about 10+ tracks. But this is an old discussion that does not have to be repeated. (Note, in most lingo a Track can be mono or poly, having 1 or more Channels. (especially for AV files this is important, as an AV file can have one or more video tracks, one or more data tracks, and one or more sound tracks, where each sound track can have x channels....) Bouke
  20. Hi guys, Strange thing happens. I have a client who claims a 2 channel (poly) Wave file from me comes in in FCP 7 as dual mono, while a ProTools file (not sure if it's a wave or something else) comes in as stereo. (Just the pan settings.) I forgot close to everything about FCP 7... Anyone knows how this could happen? I never heard of metadata inside a Wave / BWF file that contains panning info... thx, Bouke
  21. Hi Alex, Long time no see! I've got no clue how / why this happens. It's a single 2 track file (stereo in this case), that seems to become mono panned. It should not be an issue as the editor 'should' have been paying attention, but it was a commercial that went out mono... (Also strange that the broadcasters QC missed that one...) Bouke
  22. Suggestions - kitchen table unscripted discussion

    Hmm, I have had very good results with a BLM in a similar situation (On table, but with clear directions not to tab pens, and there were no drinks / cuttery). Note that it does not have to be on the table, but can be on 'any' surface. So, mounted on a piece of chipboard and hanging over the table would be a simple / cheap way to avoid boom shadows. hth, Bouke
  23. Timecode solution

    Can someone enlighten me why / when / what situations going over midnight will cause a problem? If all is well, the user bits contain the date, so there should be no issues. (Yes, that's theory. And as we all know, in theory there is no difference between theory and practice. In practice however...) Bouke
  24. What about simple math? First, I did NOT watch the OP's video. I refuse to have my time abused this way, simple as the topic name sorta kinda says it all. I'm not going to watch a long video to get the info I could read in 30 seconds if it was in text. First. You need clients. Get them. Spend money on that. No clients, no income. Next, there is a difference between renting and owning, but if write off goes by year and you have little jobs, renting could be cheaper than owning. (A rental kit works at least 100 days a year, yours might be working less.) So start with spending money on getting clients, and decide what you WANT, not what you can afford. Do some simple math. Say you want 20K worth of gear. If you borrow the money and pay off in 2 years, you pay some 2K of interest (assuming you get a loan for 10%). Not sure about the UK, but over here interest is deductable, so you end up paying less than that. Thats 22.000 / 24 months = 917 per month. (Tax returns not included.) Thus, if you have jobs that you can put 200 a day for gear, you need just 4 days of work a month to get this cost covered. The math changes with different payback time / interest rates, but it's not rocket science. Again, get cliens, buy whatever is needed for the job and the clients are willing to pay for. Although I know that clients in your bizz refuse to pay for the good gear, again do math. See if you can bill enough to get by. That's the only thing that's important. Running a business is way more that owning gear. (If you're a sound guy, does it matter if you bill 100 an hour for you and bring your equipment for free?) Bouke (who's borrowed way over 100K to buy equipment, but I'm in post / developing.)
  25. BWF files are the same for 24 and 25, as the BWF timestamps converted to TC have no non-drop issue. (23.976 has this 'problem' ) Now, in Avid, you might need to override the 'baked in' speed, so TC matches. But Avid syncs sample accurate based on the SAM (if you turn that on), so it should be no issue. What CAN be an issue, if you have fed TC to the cam from the bwf recorder, I have no clue what happens then... I would say, test a couple of clips, if they sync with a 'little' offset, it's an easy fix if the offset is always the same. If the cam did not lock at all, or the offset differs between clips, it's manual or Plural Eyes.... But again, since it's 24 vs 25, I cannot imagine it's a progressive drift. (That can be compensated as well with a little math.) If that happens more often? Yes! One of my clients had his Zaxcom setup for 25, the cam was 25, but LTC on a soundchannel was 24 He used a TX/RC Zaxcom system, where the RX was set to 23.976, so the LTC (on a soundchannel, NOT tc input) was in 23.976. (In this case / piece of hardware, the RX regenerates, it does NOT relay incoming!) This was an easy fix, as there was no slaving, it can be done with simple math. Another example, today I talked to a sound guy who had a gig in the US, and the DOP refused to tell him the framerate they were shooting (Don't ask why, I have no clue.). He being European, unknowing, set up for 30 fps where they were in fact shooting 23.976. This will probably a 2K screwup from the DP, unless there is a very tech savvy editor, who will curse anyways...) hth, Bouke