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Bouke

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About Bouke

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    Hero Member

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  • Location
    Netherlands
  • Interested in Sound for Picture
    Not Applicable
  • About
    I'm a developer of software tools, both ''off the shelf' as custom work.

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  1. Ok, the app is public now. You can find it here It does all that is promised, and a bit more. Aimed at you having to do as little work as possible, but I can imagine it will be a HUGE timesaver in post. Now, I've done my best (to my horror I now see i've been working a month on it.) to accommodate all needs, but I'm an editor and coder, not a sound guy. So, there probably are more improvements to make. Don't by shy with comments! Oh, fair warning: If you run the demo: Offloading will do no harm to your files. Altering the metadata / setting timestamps WILL! (It will add 2 seconds of silence every 25 seconds.)
  2. Bouke

    High Speed Frame Rates

    This has been done before. (Mostly on music video clips.) You can use AUX tc (record the LTC on a spare track.) This is a great way to have multiple angles fall in place by itself, no need to do the entire track for just a 2 second shot. Do allow for enough preroll to give the talent time to get up to pace / in the rythm.) If you have direct out, why not generate an LTC stream and speed it up as well? (Without pitch correction, as you probably do on the sound track!) LTC was designed to be readable at very high speeds (while searching tape). At 48Khz, a 23.976 bit is about 25 samples. (48000 / 23.976 / 80 (there are 80 bits in one frame). Now, a bit needs two samples at least, so in theory you could speed it up 12 times. If you can't generate LTC yourself and you don't want to record it, get my LTCconvert demo, it comes with 10 minutes of LTC in all framerates. https://www.videotoolshed.com/product/ltc-convert-auxtc/ If you need a lot / custom start / duration, you can use my LTC generator. https://www.videotoolshed.com/product/ltc-generator/ (This thing will generate 24 hours of LTC as BWF within minutes.) I could customize it to run other speeds, but if you're handy with a HEX editor, you can easily alter the sample rate to 96000 so it runs twice as fast. Goes for the prefab files as well of course. The only tricky part is that you have to tell post to slow down the sound as well, without pitch correction, and actually use the AUX. Bouke
  3. Hi Constantin, Please elaborate on the file names. Metadata can hold a name as well, not sure who uses that. (I personally hate it when a filename in my bin does not match the filename on disk on most scenarios)
  4. Ok. For the drift, what I would need is a (manual) correct TC for one file, and another (manual) correct for a later file. The further apart the better. (At least an hour, more is better.) This way I can do the math if the clock is slow or fast, and compensate based on that. But it will not compensate for temperature drifts, it will be just a bit of an improvement. (My old mac clock was 4 seconds slow over 24 hours, that is a lot...) Now, if the files are already BWF, they are stamped as a accurate as the clock in the device is I presume. You can use that as well to set the correct timestamp, and the math on other files can be done on the offset of the BWF timestamps rather than the creation time. If a file is split due to the 2 (or 4) gig limit, it won't be a problem since all get the same offset and all should be well. @nick, you can also walk around with your master TC device, insert that and record a few seconds or so on the cheap device, switch back to mics and then have my LTCreader to 'work on wave', and let it rip away. It can do the same thing, reading the LTC and setting the guessed values on all other files from that folder. For offloading and metadata, i'll build it in tomorrow and send you test versions.
  5. Hi guys, A soundguy doing sports with lots of small recorders asked me to promote files from small, non-tc capable recorders to BWF. So, I've made him something that does this, and also can include a custom offset. So, you can set the actual TC 'somewhere' in one of the files (it has a player build in), and all the files will get the 'correct' timestamp based on a bit of math on their file creation time. (Of course this is only second accurate for the other files, as the creation time is not more accurate than that.) Now my questions: -What more should I add to make it practical for daily use? (metadata / sound report or is this overkill?) -Since there is a bug in 'some' versions of OSX that replaces the file creation time, do you guys have a SOP for offloading cards? Or should I add it? -Should I add compensation for drifting clocks? I know for sure that internal clocks will drift, but I don't know if this is a fairly stable drift. If the latter, it's easy to calculate that and compensate for it. That could make it a bit more accurate. -Do the cards in these recorders have 'some' form of ID what recorder it was that used them? (I can imagine that being practical to identify the files later on.) Other ideas? If you want to toy with it as it is now (fully functional but not all bells and whistles that are possible), drop me a line. Bouke
  6. Bouke

    Record Run Wireless Timecode

    The only reasons I can think of that make shooting Rec run a good idea: (Except shooting short clips on tape, for that Rec run is the best way.) If you need to import QT clips in Avid, Avid does not take the embedded reelname nor does it assign a new reelname. This 'can' make re-linking problematic. Old FCP links based on TC and filename, but if the filename matches but there is no TC overlap in the clip, it links on frame count from clip start, that is ALWAYS wrong. On rec run, you can have 24 hours of footage without doubling the TC anywhere, and that is 'safe' for ancient workflows. (Even now, UMID's are not as safe as they should be, sadly.) A lot of editing suites run quite old versions, due to 'if it works, don't fix it'. Also, the hour digits make for somewhat low level media management. (And of course in the tape time, the first tape was labeled 'tape 1' while the start TC was 00:00:00:00, tape 2 has one hour, so at the end of a long day you always asked for the wrong tape...) I'm the first to say that it is ancient and stupid, but Steve Martin teaches: "Before you criticize a man, walk a mile in his shoes. That way, when you do criticize him, you'll be a mile away and have his shoes." Bouke
  7. Bouke

    Tentacle Sync Workflow

    Over here we call it 'red herring', and it is a golden oldie. Btw, it is ment as a red flag so that could be taken out while the rest remains intact for cost / quality. (It was an issue in film / lineair editing, not so much nowadays.) May I remind you that I also mentioned two other products, one of them being free? And, that I've developed two applications tailormade to the wishes of users of this board, that costed me more than it gained me? And, that I'm an editor who knows what he is talking about? No worries, I'm not offended whatsoever, but I don't think it was a fair remark. I'm more than happy to give you some reasons clapperboards should die.
  8. Bouke

    Tentacle Sync Workflow

    Oh, I got some T-shirts. 'Can we do it a bit cheaper this time?' 'Sure, how about you proof read the end credits prior to viewing the third version of the final deliverables?' Does it help? No. Do I keep telling it to clients? Yes. And it is frustrating as hell, but I refuse to play as stupid as others in the game. But this is drifting from my first set of remarks.
  9. Bouke

    Tentacle Sync Workflow

    I totally agree, but that is beside the point I was trying to make. Sure. Let me tell you as a very seasoned editor, pluraleyes is a PITA and not something to rely on. Of course it works sometimes. But sometimes it does not work. And I totally understand that you do not want to educate each and every client. But, telling a client not to use the cam he brought or forget about his action cams is something else. Let's agree to disagree.
  10. Bouke

    Tentacle Sync Workflow

    TC This sounds a bit strange to me, and frankly, kinda arrogant. 1) Very often the choice of a camera is not made by the one paying you, or making the descision. Or, it is a need to use a non-tc capable cam. (gopro or dslr) 2) If a plumber asks me to pay extra cause he brings a cheap tool that is quite common, I will hire the next one. Even if the next one is more expensive, as the suggestion is that with the first one there suddenly will be more surprises that cost 'extra'. 3) You only don't use timecode if there is no time and no track left. Manual syncing / clapper board is outdated by 20 years. Otherwise, if you don's sacrifice a spare channel you are deliberately making things difficult for the next guy. An exception not to include audio timecode as a last resort to syncing is if you are specifically asked to leave it out. And no, it is not your job to do the editors research. But pointing your client to Avid, Resolve or my software to save quite some time is not that hard, is it? Bouke
  11. Bouke

    Tentacle Sync Workflow

    No need to google, it's in this link: Get the demo for LTC convert here Now, funny you describe it as 'not simple to use', as all functionality inside is based on feedback of actual users. Thus, it can do a gazillion more tricks than othes, but all were actually used at least by some one. And it is easy. it will auto detect the LTC rate (although you can override that for special math if the LTC and other framerates do not match.) The best thing, if you have LTC on a sound channel of your cam, you can stamp the 'should' be timestamp in the BWF files so the sound files match with the video timecode, while retaining the original BWF timestamp in a backup chunk. And this is accurate up to a few samples! This is lightning fast, and no need to add a project or something. Any editor who expects matching TC can work with these altered BWF's For the OP: We spreken prima nederlands, speel gerust met de demo en neem contact op als je vragen hebt. Groet Bouke
  12. And the support is great :-) (I'm the developer.) Bouke
  13. eehm, I'm a bit late at the party, and did NOT read the entire thread, and did NOT read the 1300 categories, but from the GearSlutz post: 85437005 Portable battery operated electronic readers for recording and reproducing text, still image or audio file: 50%. I don't think a SD recorder is able to reproduce an audio file. Otherwise, strip the playback function and put that into a $1 add-on module sold seperatly. Seems food for lawyers. Back to regular nonsense now.
  14. I totally do not understand what you are saying. Avid has mono or stereo tracks (And stereo is only used for already finished mixes). You cannot put multiple input tracks in one track. Could post make screenshots like we're in 1998 or something? Do send me a testfile, I'm a seasoned Avid editor, and I highly doubt this is a bug.
  15. Eeh... if not, it would be a mixdown, right? So I fail to see the problem. Mono or poly is not important, should behave the same. What you can do is a little trick with file names on mono files. sound_04.wav will end up on track 4 in Avid, no matter if it was recorded as track 1 in the recorder. But, don't you have one of the older (known good) files to compare?
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