Brian Liston

I guess that makes the sun bright here in Wisconsin as well. I had some trouble with sunglasses on in bright light. A hood was made from foil and gaff tape that did the trick.

I read the article, and it looks like using a QT file is a tighter sync than most of the other options on there. 1 frame, and no start errors. Here is a link to the article that I think was meant: http://www.pharoahaudio.com/ptvideosyncstudy.html Besides that, I don't think the article proved much. What codec was used for the QT? This test was quite old based on the G5 used for the test. A dinosaur really. PT 6.7 means the test was what, 5 years old? Useless. Their product looks pretty cool though. Then I read the DUC posting and they were mostly complaining about the Cannopus. I'm now more convinced than ever that Pro Res 422 in PT is tighter than any hardware solution save a 2K AJA. So I ran a non scientific test. I put a 108 minute movie with a window burn on a second monitor. I put the BIG COUNTER up on the same screen. I took random screen shots over the movie running from the head to the tail. Zero drift from head to tail. I would love some more scientific evidence.

Cineform, Pro Res 422, or any non-GOP based codecs all rock in PT. I've never had an issue, and newer computers handle glorious 1080P with very little strain on the CPU. I used to make lo res/hi res, but don't even bother any more.

LOL, my aftermarket car stereo pisses me off to no end. My first few months with the 4000 was equally as aggravating. Once I learned Christmas tree mode for doing punches I never wanted to go back. I think I still have nightmares about my sessions with a C2000. I'm pretty sure the C2000 designer went to work at JVC to make car stereos. SSL just makes superior UI for audio production IMO. Many debate their sonics (I do not), but their newer stuff like the AWS 900 are just brilliant. I want to buy one just for the monitoring section. But at 90K, maybe I'll stick with my SPL.

As a guy who came from the post world, I've been down this road before. Consoles were at one time a button per function, then some smarter consoles came out in the late 70s early 80s like the SSL4000. That board had more buttons and lights than anything else before it. Two buttons could change the signal flow of the entire channel in 4 ways. It took a lot of getting used to. The whole thinking thing. The whole manual thing. The whole computer thing. Then, the whole "Virtual console" thing started. Each channel could be whatever you wanted, moved around, and controlled a brain of sorts somewhere else. Think Euphonics C2000, Digi Pro Control and whatnot. These babies let us do things unimaginable before. 7.1 channel on one fader instead of 8. Master faders wherever we wanted, in whatever number. So instead of spreading out 128 channels on a board that would be 40' wide and require lots of skating on a chair to get where you wanted, you can just move the important stuff to where you want it. The next generation of virtual controllers got even smarter with the ICON controllers. Better layout for the virtualness that we are doing, rather than just imitate a function per button approach for familiarity. Once an ICON is mastered, its speed cannot be paralleled. Its footprint, electric use and the ability to upgrade its function without 5 dudes for a couple of weeks solder it. Install PT10 and read the manual. I think the Nomad is a great evolutionary step. RTFM. Give useable feedback to the manufacturer and it may just end up working more how you want it to. It also takes a leap of faith. It takes reading a manual instead of being able to just sit down and make "IT" happen. I sure love working on the old consoles, but every time I do, I get pissed now at how slow it is. I get pissed at how one channel doesn't sound the same as next. The repairs. The "Studio Tan" from the heat coming off of the board (Class A Neve and Tridents I'm looking at you).

Only a three week slip? Not so bad. I was told start of November and have been "1 week out" since...including this week...

Drift from being in the computer, same place as the audio. Are there any posts that you can recommend that have some tests showing how much of a drift there is? I have done two hour prints and not heard a complaint.

I've just been bringing video into PT as QT .mov for years. What is the advantage of going out the AjA card, besides such silly things as colour accuracy?

And I'm guessing (Praying) that the Nomad sounds better than the venerable 1604. I've been rocking the Mix Wizard for such gigs, and don't want want to lug the old girl around anymore. But man do I get compliments on how great that thing sounds.

+1. Where is this happening?

You'll pry that notch filter out of my cold dead fingers. Is there a way to have the notch post fade, and the ISO track pre fade so as to deliver a tweaked mix, but a raw ISO track?

As a mostly-post guy, I like the simplicity of seeing a file, and having a clue as to what it might be UNAIDED. Sure, a good sound Report is a glorious thing on large project, but for quick turnaround simplicity is key. Why not put whatever relevant information you or the client wants "on top" -as in what the file name is. Boom recorder is the best I've seen there. Sure, put it in metadata as well, but make the filename so that any DIT/Director/Producer can see on the drive if what they want is there. There is Some shoots I match the Red filenames up so a simple sort in any FCP/MC/Prem can marry files. Other times Scene-Take, other times, whatever crazy crap the post guys ask for. Duplicate files can be delt with in many ways. Replace, auto-1, dialogue box with options, etc.

NOT basically line level. Different Impedance, different Voltage, different problems with length. Different headphones will put different "strain" on this type of wiring. i.e. 7506s might almost work, whereas AKG 240 over 50' would be a disaster to the mic send and the headphone sound. -12 Sine headphone is like 5.x volts, line level 1.2ish (+4dbu)

IF you need to split, use good transformers. The amount of $ you are spending for the second recorder will be ill served by an ART splitter. Jensens are the way to go. Radial makes an awesome OX* 8-channel single rack splitter. It actually splits it three ways! Plus, if you need to do a split for a music gig, the surly FOH guy won't swear at you for having a crappy ART splitter that he won't let you use. He will instead grunt something like, "Oh, you have have a Radial Splitter! They are awesome. You want some beer and green brother?"

There is a way to do this "flip" elegantly Glenn. The Access Virus since the "C" version, then improved on the "TI" line allowed several usable options for using pots in place of endless encoders. There are different modes for different uses. OFF - As you would imagine. Off JUMP - When pot is moved, it jumps immediately to the new knob position SNAP - The Value is not changed until the original value is reached. Much like the "Pick-up" mode on SSL VCA based automation like th 4000 series. REL - The value immediately changes in the direction of knob movement without jumping. But limits may not be reachable directly – knob positions only reflect values after the original (stored) value has been reached. For example: let's say a knob has values from 0-100, from 7 o'clock to 5 o'clock, with 7 being 0 and 5 being 100. If a knob is at 12, which would yield a value of 50 under normal circumstances, but the value is assigned at 75. When the knob is turned clockwise, the value will change smoothly from 75 to 100 as the limit is approached. The REL mode is enhanced by the display showing the value of the knob when "twiddled." I think the display on the Nmad is big and detailed enough to show such data.

No support for 23.98. No more dev on the TCO.

I had the same thing happen on a two RED shoot. both at 30.5,each with slight differences so I don't know where the problem was. RED A - had the M-X Sensor upgrade, and some goofy adapter plate on it. RED B - No sensor upgrade, just a SD Lemo adaptor for TC I/O "A" wouldn't send TC that was readable. I listened to the TC and it just didn't sound right. Put my iPhone LTCreader on it, and sure enough, the wave was distorted and nasty looking. It could read TC, but lost its mind a few times. "B" worked fine to read and send TC, but only after I went into the menus and changed some things. There is a new "TC" menu with options for things like "Send TC" that wasn't there before. So, was it the adapter plate or the sensor upgrade, I can't say for "A." But for any RED shoot, going through the menus is good practice as they change with each build. And don't listen to the operators about this stuff, they always insist that everything is fine. Jeesh, and they call Apple people "Fan-boys," They got nothing on the RED cult members.

I've been using the zoom R16 as a controller for RME FF800. It works great, but no flying faders. I tried the behringer guy, but it was just soaking up power. The great thing about the R16 is it can also act as a backup recorder.

Oh man, I just tried BR out on my last project and was planning to fill out my rig around it. It was nice and solid, reports were great. I never thought I could be comfortable with a laptop on set, but there it was. Is there any time frame for 9.0? Because only 5 days left on my trial and upcoming work...what is a mixer to do? Rent a Deva?

The Fireface Boom recorder combo works great for me too. Rumor has it RME is soon to have a dedicated control surface for the FF line which will really make it powerful. The Mixer is very flexible inside and could be used in realtime without hitting the CPU. I'm using an older Macbook G4 1.67 gHz. I've done 18 tracks at 96K for 2 hour bursts, no hiccups, and nothing but compliments on how great my audio sounds. For me, the big reasons for BR over MC was price, the only feature that MC really had over BR was TC out, and not just in. But for some reason I don't trust computer generated TC and use a generator.

I was thinking more about the Wi-Fi, Much better battery life, and with VOIP, you wouldn't be limited to iTouchs, there are many alternatives.

Its a shame that just about everyone on a movie set these days carries with them a far more advanced, and more secure communication device: The iPhone. The WiFi should be able to be used for comtek purposes with ease. Currently the Apple specs wouldn't allow such a use over WiFi or Bluetooth, but we can hope for the future. So get some iPod touches, and pass those out to the non iPhone folk. Another touch could be a base station. Done.