Bubu

Yeb well me too I guess, but that´s not going to happen now. I had actually forgotten about that! But I still think if I´ll upgrade I would add a few more channels, but a very good point.

Hi people, I´m looking into getting a new recorder in the near future, I have a SD 633 witch has done me well. I find that I need more preamps. Since I live in Iceland there seems to be no way of getting my hands on a Sonosax recorder to try out, I know the SD recorders pretty well and expect the 888 to be good as most of their stuff. I´ve recived and worked on stuff recorded on the Sonnosax with the same mics that I normally use, and I was impressed by the sound quality. I´m just curious to hear if you people have any experiance with both Sonosax and SD, what you like what you don´t like etc. Since I´m often recording in rough weathers I´m a bit curious how the touch screen on the sonosax holds up in these conditions. Thanks in advance, Björn.

Thanks David! That´s exactly what I was looking for! And some pretty good ideas Dalton! Cheers guys!

Hi there, I have upcoming shoot of a movie that involves lots of rain, so I will have to deal with rain pooring down. Drains, dripping onto pavement etc. Do you guys have any creative ideas of dealing with this. All the best Bjössi.

Hi all, I'm curious if any of you have/are using custimized sound vans/cars, and If you have made some nice and practical solutions for keeping the gear in place. Thinking about getting a small van and I'm looking for ideas! Thanks!

Thanks for the reply, I know how to fix the problem in post, and it is fixed. I was just wondering if anyone had the direct experience of feeding the wrong frame rate to the Alexa mini. And seeing/knowing what happens. Why? Having a hard time getting info out of the camera crew and the editor. Meanwhile production is busting my nuts. All the best Bjossi

Hi all, Just wondering if anyone has had the misfortune of feeding a alexa mini wrong fps? I.e. we where shooting at 24 fps but the sound files seem to be at 25 fps for 2 whole days. Wondering how that could have happen. Does the camera sync? Or does it display somekind of error? Looks like I might have done just that a couple of months ago, just wondering if anyone has done anything similar.. all the best Bjössi.

Thanks to mFranken there was a workaround, you can find it here: http://duc.avid.com/showthread.php?t=387206

Hi I´m having some difficulties conforming original audio from an EDL made by Premier Pro CC 2017. I´m not to familiar with Premier so this is really a question; When exporting a EDL in pp what is the difference between ticking in the "use sound roll/sound timecode" box and not ticking? I know that I get the sound rolls into the EDL, but the source timecode is not the same between the two options, and the edit is made from a proxy, so the timecode of the proxy audio and the proxy video should be the same? The point is that I do get correct source TC i/o times when I uncheck the "use sound roll/sound timecode" box, but then I don´t have the sound roll info in the EDL.. which makes it useless for me to conform. I also know from a fact having recorded the original sound on set, that there where no tc issues between the Alexa and my sound recorder, this has been checked and double checked. Everything synched flawless. What am I missing here? here is an EDL line with the box checked: FCM: NON-DROP FRAME 001 A15 A C 18:45:06:02 18:45:26:13 01:00:00:00 01:00:20:11 * FROM CLIP NAME: A046C026_160808_R6WC.mov and unchecked: 001 A046R6WC A C 18:43:58:17 18:44:19:04 01:00:00:00 01:00:20:11 * FROM CLIP NAME: A046C026_160808_R6WC.mov as you can see the source i/o times are different.. Since i´m not that into premier all your thoughts and theories are more than welcome! All the best Bjössi.

Lol Yeb, like the internet, soon it will be over.

Hi Jlempen! Thank you! Thank you! Thank you! and a few more times thank you! And i´ll buy you beers any day! This has saved me from a long and boring days with PT and Wave Agent! And yes the case was that here in iceland we rarely use the mix tracks anymore. And since they where not asked for in the spec&workflow documents, I decided not to record them. Probably a mistake in this day and age.. I´ve felt that they get in my way when I do sound post. Saying that the track naming in the recorders has become much better in the recent years so these things should not slow you to much down in post. Anyway this is a Danish co-production and the editing is done there by some old timers , and they said that there was no way for them to work with it like this. It turns out that when making the Spec&Workflow document they forgot to mention that little thing about the mix tracks. And I guess every country is different, here on a film project, there is rarely done any on location mixing so the mix track culture hasn´t caught on here yet.. I guess i´ll be recording them from now on! Really like the other ideas you have though and would be very interested in following that in the future if you keep on developing them. Cause although Wave Agent is i good program it is far from perfect. Another thing I also had to do for the editors was to combine multiple recorders into one polyphonic file for each take, when we had that situation, be it another sound devices or sometimes we put a mic on the Alexa (it was all long handheld takes, with quick 360 turnarounds). That I did with Wave Agent and was a bit tedious and WA proved to be faulty when keeping tracks in the desired order above 9 tracks. Thanks alot Jlempen, i´ll make sure to get you on the thank you list for the movie! If you swing by Reykjavík stay in contact and you´ll get those beers! Cheers! Björn V.

Thanks! Interesting, this can be a solution if it chases to timecode, otherwise not really, we need the TC. I could not use my 663 on this one so it´s really a matter of finding the right recorder with 8 digital inputs and the chase to TC option i guess.. Any Ideas? The mix files where not recorded with the original polyphonic recordings!

Thanks for the replies! Exporting Omf´s and AAF´s is not an option with the editors, they want new polyphonics, I´m basically trying to find a good workflow to replace the polyphonic orginals, put the mix tracks in there and export, but keep all the metadata. Can´t find a way to make a polyphonic file in Audacity and exporting strips the files of their scene, take and frame rate metadata witch is essential!

I ended up doing the Peli 1620 case and put some serious wheels on it for the rough Icelandic landscape. Has been doing me really good for almost a year now!