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About nickreich

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  • Birthday January 1

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    I do Sound For Picture and Location Recording - primarily for projects involving Theatre, Live Performance or Live Speaking events. Projects range from full-length films of Theatre and Opera shows, through to EPK/TVC shoots, Documentary and Streaming.

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  1. nickreich

    Plug for Reaper

    wow - an echo from 2015! I do mainly recording of Concerts and Musical Theatre, both for Cast albums and filming for either full cinema 'streaming' or TV commercials and the like, and also a lot of Broadcast OBs for awards shows, where we record the rehearsals for finessing mixing before the live show. Because most live consoles at the larger end use MADI or similar in blocks of 64 channels, once the show tips over the 128 channel point into a third stage rack, they tend to fill the next one pretty quick with alternate mics, backups or whatever.
  2. nickreich

    MixPre 3 & RODE SmartLav+ not compatible really?

    so you have the SC3 adapter to convert the iPhone TRRS connector on the smartlav to a more typical TRS connector? The 3.5mm TRS connector on the side of the Mixpre 3 can be switched to 4 different uses. In the 'Input' menu in either Basic or Advanced mode, you can choose if it's in MIC mode (the one you want - provides plug-in power for the mic), LINE mode (for a stereo line level input) or CAMERA mode, for monitoring back from a camera but not recording it. The fourth use for the 3.5mm input is to get Timecode into the device. This is set in the same menu but only visible in Advanced mode. It's conceivable that setting might stick if you had it set then switched back to Basic mode, where it's not visible. Maybe check that out?
  3. nickreich

    Marry takes on 664

    yes, Video Toolshed BWF Sequencer. Will join non-contiguous takes and fill in the gaps with silence. Bouke wrote it for me to create single files from a half-day's shooting to hand off to Music staff. The timecode is still correct so they can give timecoded notes. It's here: https://www.videotoolshed.com/product/bwfsequencer/ Still in Beta, so it shuts down each time you do a set (demo restriction) but he can unlock it for you if you like it.
  4. nickreich

    Microdot on transmitter

    Sennheiser used these for years last century, on the 2012 transmitter (and possibly others). Using them heavily in Theatre applications, we found them to be quite reliable IF you added a small rubber O-ring around the connector for the male Microdot on the mic cable to tighten up against - otherwise they had a habit of coming loose, generating nasty pops in the audio. DPA (B&K at the time) supplied a little rubber gripper tool so you could get them tighter with your fingers, but we found the O-Ring to be a better solution. The DPA connector adapters from Microdot to other types have the same issue. I wouldn't go back to them on a TX by choice, though.
  5. nickreich

    time code tools, what to buy. (Ambient radio link)

    Hi Alidav, I think some of the systems being suggested above are too complicated for your needs. Basically, most users and manufacturers have moved away from directly transmitting Timecode over a radio link, as it is less reliable than having an accurate generator attached to each camera. You can get radio drop-outs. There are of course two ways timecode can be used on set - continuous timecode, often set to time-of-day, or "Rec Run" timecode, used less often nowdays, but only really for a single camera and a recorder, where the timecode starts and stops with the camera. For Continuous Timecode (or Time of Day) - which is what you'd need if there were two or more cameras anyway - all you really need at the basic level is two TC generator boxes for the camera, and use your Sound Devices 664 as the TC Master. Any of the currently available boxes will work fine - Tentacle Sync, Timecode Systems, Ambient's many products (including the Nano), and several other manufacturers. You simply jam-sync each box to the TC coming out of the 664, and put them on the cameras. Depending on the brand of the TC box, you might want to re-jam at lunchtime, or leave them to run all day. Ambient and Tentacle both have good videos showing this process. The tricky part is knowing how to set every brand of camera to lock to their TC box, and having the correct cables to link the two, but that's the same as using the TC radio link boxes you are used to. Some of the current boxes have a wireless network facility - this is different to the old TC radio links, as the wireless is used to simply jam-sync all the boxes (once or every few seconds, depending on manufacturer) - if the wireless drops out, there is no problem with the TC coming out of the boxes, and if one cameras jumps in a car and goes far away, it still gets TC. With those 'networked' devices, there's an advantage in having one of the boxes attached to your 664 as well, as it removes the need to jam one of the camera boxes to the 664 with a cable (which will then jam all the others over the 'network'). Please note that with the Ambient system, you do not require a 'Master Lockit' - even a Nano can be the 'network master' - the Master Lockit just gives you advanced control and Metadata functions you may not need for Documentary work. In the other, less likely case of using "Rec Run timecode" that starts and stops with the camera - some of the manufacturers still allow for this. Ambient for example, allow all their TC boxes to operate in "TRX mode", which to the user works in the same way as the old TC radio link boxes you have used. TC goes in to one box, and comes out of another one (or many) - and will start and stop as the source does. It is really using the wireless jamming network (they call C-Link) to start and stop the TC generators in each box - so it is still a bit more reliable than the old radio link system (which is why Ambient have discontinued them).
  6. nickreich

    Absolute UTC-based Timecode?

    I remember reading several articles about Ben Osmo's team on Mad Max Fury Road using several Ambient ACC501 Master Controllers with GPS Modules to jam their Lockits each day - as there were several shooting unit bases widely situated in the desert they started from each day, but may have ended up shooting the same action. I understood this to be a kind of GPS Time Of Day. The roll across midnight problem can be easily fixed with a standard 'time zone' offset. My concern with GNSS modules in individual TC Boxes is their ability to actually see a satellite signal in many shooting environments (ie: indoors) or getting desensitised by strong RF fields from other gear on the cameras like Video Transmitters and such. In a real on-set environment, even getting the time to take them outside to 'see a satellite' after power-up at the start of the day, before putting them on the cameras, can be a challenge.
  7. I do mainly large track-count recording (64 channels and over), mainly MADI through a variety of RME and DiGiGrid interfaces, and use Boom Recorder, Reaper and ProTools. Firstly as caleymw says, I've also heard that RME admit the UFX+ can only reach full track count reliably with the Thunderbolt connection, so try that first. I happily do 194 channels from a RME MADI FX card in a Thunderbolt chassis to a MacBook Pro a few years older than yours, recording to a single SSD for hours. I've been a Boom Recorder user since the early days, and have to say while it in theory can do 256 channels now, I haven't had reliable luck with it over about 40 channels and now call 32 channels my limit with it. I've tried working it through with Take Vos who wrote it, to no avail. Any more than 32 tracks, I use Reaper (as Pro Tools is limited to 32 chans of non-avid hardware). I've also tried Nuendo, Nuendo Live, Waves Tracks Live (which is just a skinned version of Ardour) and others, and Reaper is by far the most solid. I note you say "65 channels, 130 Files, 1 Folder" - why are you recording two files per track?
  8. Probably a bit OT here, but has anyone come across a Mac app that works with quicktime video files similar to the way Wave Agent creates sound reports from a folder of BWAVs? I'd like to dump a folder of h.264 Quicktime .mov files in it and end up with a list of the file names, and at least the timecode in and out points from the quicktime TC track - preferably in .csv format. Cheers, nick.
  9. nickreich

    Time code audio and video issue, any help appreciated

    So with the scientific/logging USB interface you are using, as with most more typical 'musician' USB interfaces, the interface's internal clock is the source of timing for the computer doing the recording. It has a proprietary sync system so you can link multiple units for multi-channel logging, but this does not seem at initial glance to be able to accept an industry-standard sync signal such as Wordclock, and as Bash notes - the available samplerates do not include those typically used in the film / music industries. This makes any suggestion of using wordclock / genlock between the camera and audio recorder impractical - although I'd contact Avisoft for comment. I note in their LTC tech note they warn of a possible DRIFT for the reasons I've outlined of somewhere in the vicinity of 300ms (0.3 sec) per 10 mins recording time - certainly in the ballpark of what I'd expect of decent camera and audio gear running un-sync'd (timecode or not). If the drift is greatly more than that, then Bash's suggestion that Premiere Pro is incorrectly assuming the audio is a particular samplerate, and playing it as such, may be a cause. However, my reading of your workflow description is that you are not actually importing the audio into the video editing software - you are simply using the timecode display on the video software to then go find a matching audio event to investigate, using the timecode display in the Avisoft playback application - rather than trying to play them in sync? Here's where another complication raises it's head. I assume that the Avisoft recorder software will happily play back audio through the computer's headphone socket without the recording interface attached. In that case, you need to know how the software handles it's timecode display on playback. Is is reading a recorded timecode track in real-time, or doing what most film-industry recorders do, and reading a start time stamp at the head of the file, then extrapolating based on the sample count from there. If it's the latter, the stability and accuracy of the timing 'clock' generated by the computer will always be different to that generated by the USB audio interface when plugged in. If you have the interface, and the software will play back with it connected, maybe try that, and see if there's a difference in the TC location of an easily-locatable event towards the end of a long recording. These scientific logging recorders are something most of us here don't come across. The KiPro Mini video recorder will be getting it's sync from the Camera via the SDI or HDMI signal carrying the pictures, so camera and KiPro can be considered as a single unit. If that camera happens to be a DSLR stills-type camera, don't expect much in the way of stability / accuracy from it's internal clock either.
  10. nickreich

    Time code audio and video issue, any help appreciated

    The Timecode coming into each device (video and audio) isn't actually labelling EACH frame - the device just looks at it at the exact moment a recording is started, reads the time data (in the format Hours:Minutes:Seconds:Frames, repeating as many times a second as suggested by the frame-rate you chose to use) and timestamps the file with that as it's start time. The vast majority of modern file-base recorders never look at the incoming timecode again during the recording of that take - whatever's playing them back just extrapolates from the start time. It's like the driver and conductor of a train both setting their watches to the station clock when they leave LA, then writing down their arrival time in NYC from their watches - the numbers will probably be different. Note that in the 'olden days' of linear recording media (ie Tape and actual Film), things were different - older texts can add to the confusion here. To give any more advice than we have already done would need more specific information about your setup - we know the KiPro Mini on the video side, but what specifically are you recording the sound on - and what editing software are you trying to combine them with?
  11. nickreich

    Time code audio and video issue, any help appreciated

    Hi inkedotly, in a nutshell, the problem is this: Timecode in the modern world of file-based recorders is a positional reference only, and applies to the start of the file on each recorder only (just like the "LED that lit/sent a TTL pulse to the audio - which we'd call a "Bloop Box" - and is an alternative to the film-style clapperboard). The advantage of timecode over these other positional references is that each take has a unique start reference that may make it easier in Post Production to sort through all the matching files, and allow a degree of automation in the process. After that, you rely on the two recorders (audio and video) to maintain EXACTLY the same speed or you get drift over time. In normal drama film production for example, the individual takes or shots are quite short, and drift doesn't have time to manifest itself if you are using decent equipment - but I suspect your Research applications mean continuous takes, maybe of hours or more. Even the best equipment will have slight differences in the calibration of their internal 'clock' or electronic timing rates that mean their individual ideas of how long an hour is will give you a drift in sync. I'm guessing that when you say you sent timecode to "the microphone", this was a Zoom recorder or similar, with the timecode going on an audio track? While there's ways to extract that using software to sync up the start points of the files (as an alternative to the LED flash and pulse method you used) - it's existence on the recording does nothing to correct the timing of the audio recorder - and even the most expensive audio field production gear will have the same issue, to a lesser extent. So - what to do about it? It's a really common problem, and any reasonably competent Audio Post Production person will be able to get your audio back in sync as long as there's obvious visual / audio events at each end of the material to match up. The techniques are either time-stretching (or shrinking) the audio a tiny bit, or cutting it into smaller chunks and slipping the head of each of those chunks into sync, then patching the holes if required. Note that this needs to be done in Audio editing software rather than Video editing software as on the whole the Audio editing software has a higher degree of time resolution. The reason it's a commonly seen problem is, as I mentioned above, using modern professional gear, the drift is negligible in the normal short (say a couple of minutes) shot lengths most common in film production where separate audio and video recorders are used - and in the Documentary world who do longer takes, recording audio onto the camera's recording medium has been typical - which alleviates the problem. Thus many camera operators are simply unaware it'll be problematic over longer takes. I personally work in long-form Concert filming and similar, and am constantly having to explain this to professional camera crews who are at the top of their game, so don't be surprised whoever captured your material got caught out. How to avoid the problem in the future? The simplest way of course is to record video and audio to the same machine (camera or KiPro) - it can't drift with itself. There's plenty of reasons you'd prefer to use a separate recorder, such as needing more audio tracks, but if long takes are a reality for you, it's going to get expensive if you want drift-free results. Basically what you need to do is 'lock' the internal clocks of the camera and audio recorder together in perfect sync - and as we have learned, Timecode doesn't do that, being a positional reference, not a sync reference. What you need is what the Camera types call Genlock, and the Audio types call Wordclock. They are not the same signal, but serve the same purpose. This means you need a camera and audio recorder that can accept these signals and sync to them, and some sort of scheme to generate the Genlock / Wordclock. There's many options (and even some high-end cameras such as those made by Arri, that can indeed extract and sync / genlock to the timing information within a Timecode signal, if it's coming from an extremely stable source) so I can't really offer solutions here. You should find a good, experienced local film sound professional to help you out. For most researchers / documentary producers, this is outside their budget, so the other option is to accept that drift is a reality and budget to correct it in post production as described above. All the best with it!
  12. nickreich

    DIY camera snake?

    The current Canare foil shielded material is very good - huge amounts of the MR202 in various channel counts are used in touring sound systems. I've been using it for many years in Theatre and Outside Broadcast and similar fields without issue - the only thing being to make it so thin, the jacket around each core is not really rugged enough to use on it's own as tail-ends or fan-outs. You need to cover them with either Heatshrink, or preferably Techflex if you want to make fan-outs.
  13. nickreich

    DIY camera snake?

    Certainly the Canare MR202-4AT cable fits in a NC7-XX connector without difficulty but it's 7.6mm OD. I run AES through 20m lengths of this cable all the time, although it's not sold as such.
  14. nickreich

    DIY camera snake?

    Canare MR202-4AT 4-pair multicore cable. If you want breakaways, the easiest is to use Neutrik 7-pin XLRs (meaning you'd only use 3 of the four cores in the cable - balanced Left and Right plus unbalanced monitor return). I have a short adapter to convert from the 12-pin Hirose connector that Sound Devices use on some of their mixers to the Neutrik, and my little SD302 bag has a small box under the mixer with a panel mount 7-pin on it with short tails coming out to the individual connectors on the mixer. Rugged, inexpensive, and even camera operators know how to unplug an XLR without damaging it. You can then make different camera-end tails (fan-outs) to suit the cameras you work with (ie: 5-pin or mini-trs returns, 5-pin in for Arris, whatever stupid connector Red or Blackmagic are using this year).
  15. nickreich

    PDR Lectrosonics

    It's basically the same mic input as all their current Radio Mic transmitters, so will take any mic wired for Lectrosonics (either electret capsule or Dynamic) or you can wire up a cable to input a Dynamic mic or Line Level. It can not provide 48v Phantom Power for a full-size mic or shotgun - you'd need to add an external P48 power supply box connected with a suitably wired jumper cable.