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About Bouke

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

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  1. Deep shame on me! (And I recently patched the Python Timecode Module, and TC is my thing.) Blame it on lack of coffee, too much work. (Crawling back in my cage now....)
  2. This is not the reason, and especially for US TV where there TONS of commercials, math on entire bloks is done in Drop to stay in sync with the Time on the Wall. (Or shows would start at the wrong time...) Reason: Since DF skips two frames every two whole minutes, there is NO difference between Drop and NonDrop if you start at a round even minute. (Except the colon / semi colon notation.) Only after two minutes the two start to drift apart.
  3. You all are missing the point. EVERYTHING will be taken over by AI / technology / cheap 'do it yourself' products. History. In video, you want a DVE? No need for ADO, get AE You want to grade? Get expensive stuff! Then Apple bought Color, and gave it away when you bought FCP. Then BM bought Resolve, so at that time, the stuff I've bought for my studio (more than a million) became FREE. An ENG crew with satellite connection is a one man band for quite some years now. Set dressing? All is chroma key (I refuse to say 'green screen') Grime? Digital. But look on the bright side, for quite a few more years, this technology has to be developed by people who thus have jobs. If immature, someone has to operate it. If that has faded away, someone needs to do maintenance, And when that is solved, we all drink cocktails on the beach. So, what is the problem? For now, if you want a job, be the best of the best, that's the only way to keep a job. The rest can go to the beach earlier.
  4. Can someone enlighten me what this is about? Track assignment is either (or both, depending on DAW) file name convention, and metadata. It's no problem whatsoever for me to re-assign track assignment on existing files from other metadata. (EG, If track1_name= Eva Move to track 24) Another thing, what I never understood, why would anyone record Poly? I know it's common practice, but it makes no sense to me at all... (Yes, if you have on drive with one readhead (Like CD or ancient cheap HD) it makes sense, but that was 25 years ago...) Bouke
  5. FWIW, BWF is Wave. (But not all Wave is BWF.) Wav is a Riff format. It contains chunks of information. Header, Audio data at least. When a BEXT chunk is added, it becomes a BWF. (Early versions of Zoom H4 did this, but completely meaningless since there was no metadata inside, just for marketing to be able to say 'hey, it's BWF!') But you can also put in a INVO (per Jim, Invoice) chunk and put a PDF in there, and it would still be a completely valid Wave file that will sound exactly the same. (Cover art is sometimes included...) The fun part in this story is that the least significant bits are used. (Read, the lowest volume. An infected 24 bits Wave with silence would still be silent unless you crank up the volume to absurd levels.) So, very hard to detect. (But a bit strange choice as traffic of Wave is way less than Mp4 / Pdf / Mp3 or alike...)
  6. That's an easy one, Sum of scene 32 PU's + one Now you are all very lucky. Over here we have commercial metadata, included is 'version' So one would think, version 2 is higher than version 1, but instead, a lot of companies use _two in the decription, so I end up with Commercial_V01_two (or alike, not exact syntax.) Then there is also the very popular term 'omruil' (translates to 'switch' So I Get Commercial_V01_Switch. (Meaning, V01 is no longer valid.) Then, of course that one is rejected, then I get Commercial_V01_Switch_DEF. (You can guess what will happen later that day...)
  7. For those toying: I just made an update with some bugfixes, so if you already downloaded, please trash that version and get the latest! Bouke
  8. Hi guys, First try is here: https://www.videotoolshed.com/subtitle-transcription/make-transcriber-files/ Now, two things: On mac, it might not run. (If you look at the console, you might see something about 'unreferenced pointer') If that is the case, it's probably an easy fix, not sure, it happens on one of my machines, not on the other. Win seems unaffected. Now, you must have FFmpeg installed, or at least a binary somewhere, see the manual about that. Thanks! Bouke
  9. Hi guys, I'm currently porting all my apps to 64 bits to be compatible with Catalina. MakeTranscriberfiles is now up, and I have a working version. (For both Mac and Windows, could add Linux in the future.) But, since it's a total overhaul of the code (new language), I'm not sure how it will perform in the real world. So, I would appreciate if some of you would take it for a spin. (Platform could be Win or Mac, but for Win, you need a 64 bits OS.) Thx, Bouke
  10. Send me the files. And, I have checked, my BWF toolbox 'should' force update the timestamps from spanned clips to be correct. (You have to alter 'some' form of metadata though, or it probably does nothing.) But again, I fail to see how it could work in 30 but not in 25.
  11. Yes, Avid Media Composer is not that forgiving, but I agree, it's not the end of the world.
  12. I have no clue, since I don't have access to the source code of the recorder nor Avid. Speaking of, Avid has two meanings, for some it means ProTools, for others (me) it means Media Composer. Setting framerate on your recorder affects how to interpret incoming LTC / outgoing LTC, and perhaps a stupid tiny bit of metadata in the BWF files (that can be ignored by MC if you want it.) Framerate setting 'should' not affect the timestamp of next files in a splitted set. When you say 'only exists in 25p', is that an Avid (what avid) project, or a 'I've set my recorder to 25p and then the shit hits the fan'? Keep in mind, I cannot mind-read. (But I can fix the existing files if needed.)
  13. There is really a lot wrong with the lingo used here. BWF has no timecode, it has a time stamp, a number representing samples. That can be converted to TC, but the time stamp itself has nothing to do with any video frame rate. So if there is a bug, it's due to a wrong timestamp on the spanned clips, and that MUST bite EVERY project framerate. As an example, your recorder splits every second, and you start recording at TC 00:00:01:00 The first clip (assuming you're recording @ 48K), then has a timestamp of 48001 The second clip then must have a timestamp of 96001 To see how big the offset is in your case, write down the Samples After Midnight of the first clip, and find out the amount of samples in the first clip. (Using a HEX editor, it's the value after DATA divided by the ByteDepth and Amount of Channels.) Add those, and that should be the SAM of the new clip. Now, the new clip has probably a lower SAM, hence the overlap. But, Avid does not think in video frames when it comes to syncing. Avid uses SAMPLES. (Hence way more accurate.) The fix is easy, if the first clip of a spanned set is accurate. Just autosequence the first clips, then manually butt edit the remaining, then export. (I could fix the timestamps easily by adding a small option to my BWF toolbox, but I'm swamped in porting all my stuff to 64 bits.) Bouke
  14. Well sorry, don't mistake me for a sound guy, I don't know this gear. (I'm in post / development.)
  15. I take that as a typo... Easiest workaround, do NOT record poly. Then, for the few files this will be the case: Autosequence the whole shebang in Avid. Then ffwd and see if you have spanned clips, if so, export them from Avid as Wave. (Avid will make RF64 for you, keeping the timestamp.) Make sure the linking is then done on the new files. You could (if you are lazy) do an entire day to one clip after the autosequence, and have all video link to that single file. (I know a sound guy who starts rec in the morning, stops rec while walking back to the car.) hth, Bouke
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