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cmgoodin

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About cmgoodin

  • Rank
    Hero Member
  • Birthday 06/13/1950

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  • Website URL
    http://www.bwfwidget.com

Profile Information

  • Location
    Hollywood, CA
  • Interests
    Audio & Video
  • Interested in Sound for Picture
    Yes
  • About
    Sound mixer and Video Engineer since 1968
  1. Joseph, Sorry for the name confusion. So you must be 006.
  2. James, I have never seen one of these "QDAN" devices before. But building and operating transfer systems (transfering 1/4" to 35mm and 16mm Mag) I believe it was a take counter that counted the dropuouts in the 60hz Pilot signal and generated an audio Beep that could be fed into transfer system to record on the Mag Film. Nagra had a bloop system that could generate a bloop tone on the tape or work silently and just interrupt the pilot signal for a fraction of a second when triggered while recording.. When you are transferring a series of takes on 1/4" they can run one into another (especially on documentaries where there are not slate IDs.) Without bloop tones it is hard to tell when one take ends and the next one starts. When the transfer person hears the beep from this device he could write on a log the take number from the Nixie Tube readout on the QDAN and write down the footage from the counter on the 35mm Mag transport. The SLO had something like this built in and could drive a solenoid operated Marker Pen to physically mark the 35mm Mag every time it detects the silent bloop signal thereby not disturbing the recording yet marking a visible sync mark on the audio Mag film that could be used to sync up dailies. the Bloops were either triggered manually while rolling continuously or triggered by the camera's built in bloop light triggered by sync cable or QRRX radio receiver every time the camera rolled.
  3. I think this is something similar to something I built for the Arri BL2 in the late 1980s. It is a digital Footage counter for the Nagra 4 series. The Nagra 4.2 & 4S only had an optional clockwork type tape counter that replaced one of the guide rollers and was not very accurate. This device would take the Sync Out signal (60 HZ) that appeared on the Accessory or Sync Connector whenever the machine was rolling. That signal would clock a digital counter that calculated footage based on the tape speed selected. It would also advance a second digital counter every time you rolled so you would have a take number and footage readout for logging. That's my best guess although I have never actually seen one of these. ---Courtney
  4. DUNKIRK: Too Loud?

    I saw Dunkirk at the Arclight In Sherman Oaks in 70MM Film projection. I found the track louder than any other film I have seen. I also was annoyed by the buried dialogue and the constant use of Synthesizer "Chug Chug Chug Chug" bursts of white noise to heighten the dramatic moments and add to the din of the music and explosion sounds. I felt the "SFX" or Score artificial and it kind of took me out the the moment as it drew attention to itself. I think there was a lot of work that went into the sound (mostly in post) because the Imax 15 perf cameras are not blimped. (some of the closer dialoge scenes were filmed with Panavision 5 perf 65MM Sound blimped cameras). Typical of most Nolan films there was almost zero character development and so you had trouble identifying with the characters since we don't even know their names in most cases much less their backstories. I think we had the most empathy for the Mark Rylance character and his sons? And he didn't show up until quite a ways into the film. Of course because of Nolan's obsession of not paying attention to time or continuity it is impossible to figure out the timeline. They constantly cut from day scenes to night scenes to dusk to high noon and back to night, while we are supposed to believe this takes place over just a day or perhaps 2. Who knows? One thing I did like was because the film was shot on celluloid and mostly had a photochemical finish (no computer DI), it thankfully lacked the over stylized color palate that most tent-pole movies sport these days. This added to the more realistic depiction.
  5. Un-corrupt WAV files with Audacity

    The hash is probably caused by not having the decoding software (Audacity?) set to the proper Bit Depth, Sample Rate or Track Count. Don't know if Audacity will automatically look for the data chunk in the wav file but if not, the offset of the other chunks in the file header can screw up the interleave alignment and create the hash. Raw PCM data is stored in a single chunk that is organized 2 or 3 bytes per sample (2 for 16bit 3 for 24bit), then next 3 bytes is channel 2 sample 1 then channel 3, sample 1, channel 4, sample 1, etc. then next sample for each channel in succession. So any mis-alignment of the start byte of the data chunk or incompatible decoding settings cause the samples to be interpreted incorrectly as the interleave doesn't line up.
  6. Cart video monitor feedback wanted

    When choosing some dual rack-mount video monitors for my Video playback rig I looked at the Black Magic Duo-Vue but found the limited inputs and lack of user controls without a computer connected a problem... I ended up with the LILLIPUT RM-7028S Dual 7" rack mount and have been very happy. They support Composite, 3Gb SDI and component analog, as well as HDMI, are native 1280x800 IPS panels which have good viewing angles and have front control buttons for choosing between input sources and adjustment. They are a little more expensive than the Black-Magic but the ability to support multiple inputs including analog and front panel controls sealed the deal. I think the resolution and brightness are better on the Lilliput monitors and Viewing angle of the IPS pannels are much better. https://www.amazon.com/LILLIPUT-RM-7028S-Monitors-Monitor-Broadcast/dp/B00GT66CQA
  7. Sound Devices Mix Pre-3 and Mix Pre-6

    I just checked the latest firmware 1.1.1 and it still has the User Bits Error (bug) where if you embed the Date in the User Bits of the external time code the MixPre interprets it incorrectly and stores the wrong values in the metadata. There have been 2 versions released since I reported this bug so I guess it is not high on their priorities since you can't observe this error unless you load the files into something else. No way to view user bits on the machine itself in record or playback. Also I suggested they put the date in the User Bits of the time code metadata when in "Time of Day" mode. It is still just filling those fields with 00000000 which is meaningless. It would be better to have the Date as MMDDYYXX in the user bits to differentiate between files recorded at the same time on different days.
  8. best preamps in a small 2 track recorder?

    I think the Mix Pre 3 would be a good match on all accounts except the power requirements. The supplied 4 Cell battery sled will only power the unit for a little more than an hour to 2 hours depending on the type of batteries. The L-mount battery sled is problematic with mounting a camera or using in a bag. If your camera outputs Time Code on HDMI it can run the recorder and sync the Time Codes. If you can use the AC adapter or a block battery to run all day it would be a good fit.
  9. Sound of Rosemary's Baby (1967)

    Well not entirely. If off camera people are on wires and being recorded and they pipe up over the top of the on camera actor at least you can use that take's sound because the off camera persons dialogue can be mixed in from the ISO track at the appropriate level. You are stuck with the timing of the interruption in the edit but both lines quality are usable. But if the off camera person was also off mic and not recorded separately it would destroy the take because the on mic and on camera person's dialogue would be contaminated with off mic overlap and no perfectly-synced on-mic recording to cover it with. So the solution is ADR of both characters separately.
  10. Sound of Rosemary's Baby (1967)

    Another reason for the disappearance of the boom mic is less disciplined directors and actors who didn't want to worry about overlapping dialogue with off camera characters. When Multi-track recording reared it's head on the Altman films one of the main reasons for wiring everybody and putting each actor on a individual track was so the actors and directors could relieve themselves of the responsibility of keeping each line in the clear so the scenes final timing could be determined in the edit. This allowed much more improvised dialogue and Altman's favorite trick overlapping dialogue where 2 actors would be having simultaneous overlapping lines. Trying to cut those types of scenes with single-camera coverage was always a nightmare. That is another reason for extensive ADR in situations where there were quiet sound stages and well blimped cameras where you would think it was easy to capture good production dialogue. There was a resurgence of the "Method Acting" Stanislavsky method from the 30's revived in the late 60s and 70's by Actors Studio teachers Elia Kazan and Lee Strasberg. This caused a lot of actors to shout or mumble their lines depending on the mood that struck them during the take.
  11. Sound Devices Mix Pre-3 and Mix Pre-6

    Paul, I don't really like the ergonomics of any of the portable power solutions offered by SD. The L-Mount Sled has the 2 batteries at right angles to the Mixpre 3 instead of inline with the recorder. I would rather have had 1 N950 L type battery that barely sticks out above or below the level of the MixPre like those used on the 7 series recorders. Instead the L-Mount sled that holds 2 batteries at right angles prevents the MixPre from lying flat in a bag or on a table causing the display and knobs to be angled down away from view. Since this unit is marketed as a solution for the DSLR shooter to mount under the camera, The L-Mount sled will not work because the most High amperage L mount batteries would interfere with the camera lens or Tripod mount. Same for the 8 cell AA sled. Notice neither of these alternate power solutions are shown mounted on the MixPre in any of the photos. Second of all I am not thrilled with using the USB-C as the only source of External Power. The heavy gauge USB-C cable provided with the machine which requires 2 USB-A connectors Y-ed out at the other end seems like it puts a lot of unnecessary torque on the tiny USB-C connector which could eventually cause the surface mount solder joints inside the mixer to break. I have had this problem on a lot of equipment with HDMI connectors and Heavy High quality HDMI cables plugged in. This is a problem in equipment designed for portable knock around use where you are plugging and unplugging cables all the time or shoving the thing into a bag. I would have liked a smaller gauge cable and/or right angle 3 mm or 5.1 mm co-axial Power connector that could take a Wall Wart or NP1 Battery cup as power supply. This way you could provide constant power without having to worry about breaking your USB connector or running down your laptop batteries. I would also like to see the USB-A connector on the side to support USB Microphones. Currently there is no way to plug in a USB Mic like the Audio Technica or Blue USB mics. This is important for podcasters which may want to upgrade to this unit for their recording setup. And by the way, high quality analog preamps and limiters with discrete components shouldn't pull a lot of power. The Nagra was famous for its QPSE preamps that were very quiet and the whole machine only pulled 100 MA in Test Mode (All preamps and monitor amps and record amps powered up)
  12. Sound Devices Mix Pre-3 and Mix Pre-6

    That is a shame because it makes the power hungry device even more problematic to use in a portable setup. My question is why does it pull so much power? My cell phone can record 2 channels of digital sound, has a 1920x1080 Daylight readable OLED touch screen, audio amplifiers and multiple radio transmitters and receivers and runs for 2 days on a 3500 mAh battery. It will even playback media with the screen constantly on for 18 hours on a charge. Plus it will fast charge it's internal battery when plugged in to external power. Where's the big power drain in the Mix Pre? Other than turning off the unused 48V phantom and turning down the brightness of the LCD and LEDs is there any way to reduce the power consumption of the recorder to a usable level so on-board batteries can be used in a practical manner?
  13. Sound Devices Mix Pre-3 and Mix Pre-6

    I have a Mix Pre 3. I am pretty happy with its performance and features, but am most disappointed with the battery life. Using the included 4 AA battery sled with Alkaline cells the recorder kills a set of 4 Duracells in less than an hour. I have other small stereo recorders and they seem to run for multiple hours on a single AA cell or 2 AAA cells. Even with the LEDs set to their minimum and bluetooth off and only 1 phantom channel turned on it still kills the batteries pretty quickly. You certainly need more external power and the solutions offered by SD seem pretty clunky in that they don't allow the recorder to lay flat with the battery sleds loaded. Also no mention anywhere in any of the documentation on whether it will charge lithium Ion or NiMh batteries when powered off of the USB-C power supply. Anyone know an answer to this? I also found a bug in the Timecode function. When inputting external time code with the Date in the User Bits, The User Bits are interpreted incorrectly by the Mix Pre 3 (and or 6). The digit pairs MM DD YY XX are converted to different numbers (base 16 to base 10 conversion) They are already in base 10 and shouldn't be converted. I have let Sound Devices know about this and they say it will be fixed in the next firmware update. Also when using the timecode function with Time Of Day mode (pulled from the less accurate internal Real time clock) it puts the correct time in the Timecode chunk of the Broadcast Wav file but puts all 0000s in the User Bits. I think the user bits should have the Date inserted which is also available from the Real Time Clock. This would keep the time code fields from containing duplicate time code from day to day. Much more useful for transcription if the date is also stored in the User Bits metadata of the time code.
  14. Thoughts on Resolve 14 Fairlight audio?

    I think they would use a picture like that because they also sell an entry level Monitor/Recorder (Video Assist .HD in photo) which sells for less than $500 US and is aimed directly at the user depicted. A one-man-band DSLR videographer. Not sure what the headphones are for since the Video Assist 4.5" has no audio inputs other than embedded audio on the HDMI or SDI inputs and the DSLR probably has a crappy electret mono mic built in. Maybe there is a sound mixer off camera (HDMI cable runs out of frame) Although it would be a lot of trouble to inject mixed Track into the HDMI input.of the BMD VA recorder.
  15. Sound Devices Mix Pre-3 and Mix Pre-6

    I have a question about the File format. Not mentioned in the manual of either machine. When recording ISOs are the ISOs part of a multi-channel Poly BWF file? Or are the ISOs recorded as separate BWF Mono Files 1 File for each channel? When you arm a track is it just an added channel to the LR Mix FIle? Can the MixPre 3/6 record a Stereo LR mix and a separate 3 to 6 Channel Poly BWF for the ISOs? If not, that would be a feature request for me for future updates. I plan on picking up an MixPre 3 as soon as they are available. Looks like a great thing for the podcasting/ Live Video streaming market.
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