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About Bash

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    still learning
  1. Of course your ears were that much younger back then ;-) sb
  2. A question on MS recording for film

    MS relies on the 2 mics being as close together as possible. If you set them up more than a few inches part you will just get a load of phasey nastiness. Many post production folks have little or no understanding of MS stereo. I have found it best, as a general rule, to deliver the MS mic tracks as 'regular', LR stereo, ie to matrix the tracks within the mixer/recorder and deliver them to post as L and R, this avoids much confusion. I have done a lot of MS stereo work over the years, and I disagree with Malcolm (who I also have enormous respect for). I feel that there can be and is a perfectly reasonable space for MS stereo in film making ;-) Good luck, Simon B
  3. In truth, I think we are both correct - if you import a 48.048 clip into a 48k project without sample rate converting then it will play at off speed. If you flag a 48k file as a 48.048k file, and import it and tell it to p[lay at normal rate (ie with sample rate conversion) then it will play at off speed). I think my greater point was that the software usewd to record the OP's audio is recording a weird sample rates, and so depending how you import into the video edit project it is likely to play at an off speed, so is also likely to drift wrt pictures. sb
  4. To be sure, to be sure...... sb
  5. How much material might they need to sync up? If it is just a few long takes then you could make it as simple as a finger click or hand clap at the start of each take. Does the Tentacle not have the ability to put an audio guide track on one channel of the camera/DSLR audio, and the TC on the other? You could match the audio files to the guide track? sb
  6. Lav on Fireman suit?

    If you go for helmet, be aware that a mic taped to the inside (underside) of the rim can sometimes sound very 'odd', or strange. Test in advance. sb
  7. If you load a, say, 48.048 audio clip into a 48k project without sample rate converting it then it will play at a different speed to that which it was recorded at, and it will 'drift'. So.... sampling rate can have quite a lot to do with drift ;-) Remember that the audio recorder the OP used does not run at any of our 'regular' sample rates. sb
  8. I think that the fundamental problem here is that currently, we have no idea what the camera shooting frame rate was, nor what the sound recording sampling rate was. We may well be able to help somewhat more, if we know the above numbers ;-) sb Mr Ironfilm - the audio record software is clearly a rather more 'scientific' thing than what we are used to in film and TV world. This is not the end of the world, we just nbeed to know what sampling rate it was running at!!! Ho hum. Happy days.... sb
  9. Wow, Bgaullier - I am so impressed with your storage - it is SO neat and tidy. I am humbled ;-) sb
  10. The spec for the sound recording device shows that the available sampling rates do NOT include 48kHz (or 96kHz) which are the 'standard' sampling rates for video editing softwares. It could be that your NLE software, Premiere Pro, might be able to sample rate convert your audio clips on the way in, but it might need to know what your original sample rate was, and what your target sample rate might be. What frame rate was the camera shooting at? What sample rate was your audio recorder running at? What picture frame rate is your Premiere Pro session running at? What audio sample rate is your Premiere Pro session running at? If, for instance, you shot pictures at 200fps, and sound at 50kHz, and you then load them both into a typical video editing session at, say, 25fps, 48kHz.... the pictures will last 8 x longer than the clip took to film (ie a 10sec camera run would last 80 seconds), and the sound will last just longer than 10seconds, something like 10.4 seconds. Again, I hope that this helps..... sb
  11. As to the original posting by Mr Inkedotly....... In what country was the original footage shot? What was the camera? What was the sound recording device? What fps was the camera running at? What sample rate and TC fps was the sound recording device running at? Is the 'drift' a gradual thing - is it that the sync for each shot starts off quite close together, and the amount of drift grows slowly as the shot continues? Does the sound run in advance of the picture, ie does the sound 'lead' the picture, and the error becomes greater as the shot progresses? The most likely situation is that the 'camera' was running at 29.97fps (or maybe 23.98fps), which we would refer to as being 'pulled down'. This is where a camera takes 30frames of video, but it takes just longer than a second to do so, so if it were a pendulum, it would be ticking just slightly slower than once per second. This is a historical thing to do with USA/colour video/TV, and the second was extended to allow the colour information to be added (to what was originally a 30fps black and white picture signal). Your sound recording device may well have been recording and playing back at 'normal' speed, ie a second = a second, so basically the pictures are being recorded slower than the sound. The amount of error will be 0.01%. A simple solution might be to slow down (or speed up) the audio clips by 0.01%, and see if this solves the drifting issue. You should be able to do this easily in almost any video editing software. You are unlikely to notiv=ce the difference in pitch in the audio. I hope that this helps, and good luck, Simon B
  12. To be slightly more accurate...... the audio recorder actually looks at the incoming TC, and works out a value based on TC value and current frame rate, and 'stamps' a number into the file header that is worked out as 'samples since midnight'. Also I couldnt help but to think that the driver and conductor of the train will arrive in NYC at different times because one is at the front of the train, and the other (much) further behind in the rear of the train ;-). Kindest, Simon B
  13. Possible Betso TCX-2+ issue?

    Doing your test with the units 3" apart might be skewing the result. The 2 Tx may be swamping the RX. Have you tried the same test, but separate the units by say 6ft or maybe more? Good luck, sb
  14. I believe that the 12v maximum is to do with the regulators inside the Rx. I would not offer them over volts as this may well precipitate the demise of the power regulators. The earlier suggestion of an NP1 with regulated 12v OPs is a good one, and could work for various battery forms and/or distro systems. Could you give us more info about what other kit you intend to run in your rig (some other kit may have a 12v OP eg)? It could also be that you could have a lead made for the 12v mas Rx that could have a regulator in the lead ;-) Audio 'may' be in the office over the next few days. Try calling them - they are very friendly, and very very helpful. Enjoy the festivities ;-) Simon B