Who's had luck with 48.048k 30ND in Boom Recorder?

[takev]

Hello MT,

Try the same thing, but with Boom Recorder frame rate also set to 29.97.

(the timecode field will then show 48000 I think, that is no problem.)

Cheers,

  Take

[MT Groove]

Hello MT,

Try the same thing, but with Boom Recorder frame rate also set to 29.97.

(the timecode field will then show 48000 I think, that is no problem.)

Cheers,

  Take

Take, I tried your suggestion. 

-30ND timecode from DA-88

-MOTU SMPTE Console set at 29.97ND, BR Frame Rate Set to 29.97ND.

-Clock set to SMPTE

-Hardware rate set to 48000

-FIle Sample Rate set to 48048

I noticed the timecode readout on BR does not visually match the timecode readout of the DA-88, as this is expected.

At the same time, I recorded the same signal to the Tascam HD-P2.  It is set to clock to LTC, 30ND Pull Up, 48k.  I recorded an audio slate where I read out the source timecode of what I see on the DA-88.  I set the DA-88's timecode to past 22hrs as Courtney suggested to make errors more obvious if present.

I imported the files to Samplitude.  The project is set to 29.97ND/48kHz.  Samplitude sees the HD-P2's file as 48000, and BR's file as 48048 saying it will be played back at the wrong speed.  I import them to timestamp position.

Result:  Both files line up and the audio matches each other.  Both files's audio readout matches Samplitude's timeline/timecode display set at 29.97ND/48kHz. (I hear my voice readout match in sync to the timecode readout in Samplitude) 

So I guess the Tascam uses the FOstex "F" Mode method to produced "bastardized" 48kHz files.  Boom Recorder and the Traveler needed to be massively fooled to do this.  The timecode display while recording will not match the source.  The Sound Report will confuse the hell out of people.  It will say Device SR:  48000, Audio SR 48000, File SR 48048, Frame Rate 29.97.  The timecode position for the files listed in the Sound Report will be wrong.  But when they import the files and play back ultimately at 29.97 and 48kHZ, it seems to be correct. 

I'm really not sure how comfortable about doing it this way, even though it looks like it works.       

[bcopenhagen]

The Sound Report will confuse the hell out of people.

That may be of some concern, esp. to the folks down the line who have to make sense of it all

The timecode position for the files listed in the Sound Report will be wrong.     

Which will be somewhat frustrating for a telecine operator trying to work quickly (from your sound report).

Revisiting Philip's method, I had a question come to mind...

I'd recommend getting TC AND WC from the SD machine--this works well for me w/ Travelers, and saves an audio input on the Traveler.

Philip Perkins

Philip, perhaps you could elaborate....specifically...

How do you patch things together such that TC is recognized in the recording software (Metacorder/Boom Recorder) without coming thru an analog input?  I believe I once tried to send TC into the Traveler via AES, and the TC was not recognized by Boom Recorder.  Has to be analog, if I remember correctly...?

And to what do you set the clock source?  Word Clock since you're sending SD Word Clock out --> Traveler WC in ?

As soon as I put together my WC cables, I'll just try all this me-self!

Much obliged,

Brian

[Philip Perkins]

I'm out of town and away form the gear--will check this out when I get back.  It's been awhile since I patched this together.

The Traveler WC from the SD recorder thing is about preserving my 8th input on the Traveler, kind of a deal breaker on most of my jobs.  TC comes to Metacorder via the Mac's audio input--a difference from BR?

Philip Perkins

[davidm]

I'm currently working on a feature with  Metacorder running at 30fps/48048 for direct import into Avid. Metacorder doesn't stamp the files as 48.048 because of a perceived "illegality" with this method. It seems that while it's required to have 30fps/ 48048 stamped files for an import into a 23.976 or 29.9  - 48K session, if the there is to be a re-conform at a later date then the 48.048 files will need at least to be re-sampled 48.000. My sound editorial team don't support this view as all my audio is ingested into the Avid and subsequently everything is output in the OMF. T hey will not do a re-conform and will never go back to my original reels.  Well, if they have to they can deal with it.

My workaround in providing 48.048 stamped files was to use a program called Remetacator from Maggot software.  The current release of Remetacator enables each file to be re-stamped one at a time - a fairly time consuming & repetitive process but it solved the problem. Maggot have kindly provided me with a beta version which does batch conversion of my daily audio and retains all the metadata and iXML.  My beta version of Remetacator also allows for iXML track name editing which is handy for fixing up the odd mistake. Not sure when the release version will be available.

http://www.maggot.co.nz/software/remetacator.shtml

David Madigan

[robaudio]

I am revisiting this thread that ended in January and ask the same question. Has anyone used 48.048 30ND in Boom Recorder successfully on a production?

Regards

Rob

[RPSharman]

Rob,

I started the thread and have had success using parameters previously discussed.  Richard has had success using the parameters he discussed.  So either way you are all set.

Robert

[Hugh Holesome]

Quick question.

I'm not fully up to speed on how all these settings "talk" to each other but I set my Boom Recorder to 16/48k 30 NDF per the transfer labs specs.

I'm recording day 13 and the editor just called with questions about Day 4 saying all the tracks load into AVID on track 1, not the track they were recorded on.

This thread talked about 48048 for AVID, would that be making a difference in import?  Unfortunately the editor and I are 300 miles apart so a sit down is not possible.

I set the files so 1 is a poly file then each track also becomes a file.  I guess the poly loads but again, single tracks all go to 1.

I dread making a drastic change with 4 shooting days left.

Any ideas or experience with BR and Avid?

Thanks

Hugh

[Noah Timan]

I am revisiting this thread that ended in January and ask the same question. Has anyone used 48.048 30ND in Boom Recorder successfully on a production?

Yes.  My current project has required me to work cross-recording platform and in prepro I sent in numerous tests on all three machines I was using (DV824, Boom Recorder/Mac, 744T).  Post confirmed that files from all three recorders were interchangeable and behaved identically with regards to TC, sample rate, filestamps, and sync.  So far we've only had to use the Boom Recorder files on one or two takes, but it does work.

To set it up, make sure your digital interface feeding BR is set at 48.048 kHz.  Feed it 30 FPS code, but set the input TC frame rate on BR at 29.97 FPS.  Set BR's settings to 48.0 kHz on all fronts (Take confirmed BR is not actually capable of SR conversion -- this just affects the stamp and metadata).  You're in business!  (This, of course, assumes you want the Fostex standard of a 48.0/29.97 stamp on the file that's actually 48.048/30, so as to not trip up the Avid).

Take cautions that the TC on the PDF sound reports is incorrect in this scenario, but as my post folks still prefer paper sound reports (without TC) it's not an issue for me thus far.

[RPSharman]

Okay...back to this thread...

So I am starting a feature tomorrow, and just had a lengthy discussion with post, including the guy who USUALLY works with them as their post sound guy.

Editorial wants 30/48.048, and will be importing my BR files into a 23.976 session on Avid Adrenaline.  Telecine will be handled by Deluxe New York.  They will take my mono mix from a DVD-RAM from the 744T.

The concern here is that editorial wants to auto sync my BR files via the ALE generated from the DVD-RAM master.  If the BR time code is different than the 744T time code, then there might a problem.  I have had success recording with BR displaying matching time code by setting the FF800 to 48048 and using the 30ND/48k/48k settings on BR, as I mentioned earlier in the thread.  But in this case, the file sample rate will not be correctly stamped 48048, and may "upset" the Avid in its 23.976 session.  If I set the BR file stamp for 48048, the time code will not match the 744T master for dailies.

Are there any suggestions other than burning a DVD-R for telecine from the BR files at the end of the night?  I want to turn in the DVD-RAM as the master, since there is car stuff on the movie and I will be running the 744T only in those situations.

Robert

[takev]

Hello Robert,

You can set it to the same values as Noah.

Set your FF800 to 48048, send a 30ND fps timecode from your 744T.

Set Boom Recorder to 29.97ND/48000/48048.

The timecode in the sound report will be wrong, the timecode in the display will be wrong. But the timecode in the audio file will be correct.

Like noah's values Boom Recorder sees a wrong timecode becuase the sample rate from the F800 (48048) is different from what Boom Recorder thinks it is (48000). Setting the timecode on Boom Recorder to 29.97ND compensates for this.

Then the 48048 sample rate in Boom Recorder sets the sample rate of the file to 48048 (Boom Recorder does not resample) and compensates the timestamp accordingly.

I hope this will make your 744T and Boom Recorder files almost identical.

Cheers,

    Take