Bouke

Could not resist!

Disclaimer, I'm not a sound guy. But I do know (a little) about math and physics. A parabolic dish (with an omni in the focal point) would be my first option too. But for side, this will NOT do ANYTHING remotely related to the whole Side trick. Mind you, at small angles, sine equals tangent. (You might get away with a 'normal' local side mic, as the birds and insects at your location are probably the same as the ones next to the giraffe 300 meters from you.)

No clue what the 'lol' means. Over here, even on high end docs, there is no clap nor action. It's talking untill roll time. If there is dual system sound, there will be TC lock. Never seen a slate except on very amateur stuff where it was totally obsolete due to other mistakes. Lack of room tone, plenty though.

Hi Derek, Mind you, depending on metadata inside BWF, the filename might NOT be what the editor sees in his bin as 'clip name' I have no clue what a 'traditional' sound report is, as I have never seen one IRL (I did get some for my software development, but NEVER for my editorial work.) MS is another thing, it took me (back in the days) some education to understand it, (I still don't get how it is 'mono compatible' if the stereo part gets cancelled out, so RTW with phase correlation meters 'should' go off), but that is something someone 'should' be able to write a nice paper about, or make a 30 second video. (Longer is no longer allowed so it seems, I also produce content for the local university, and the most promising / bright smart kids don't seem to be able to concentrate more than that.) While I'm thinking of it, directors watch video. Do you all include scratch tracks on the cam? Does the director know that there might be more sound than there is picture?

As well as room tone, and please include a few words on paper / sound report / whatever on where to find what. (I've cut quite some docs, and no, I will NOT watch 60 hours of footage when I'm not getting paid for it, and the directors who view / log the material NEVER log ambience / room tone. While you're on set collecting room tone, how about telling EVERYONE to shut up for at least a whopping 4 seconds. (Trust me, I have done projects that took me an hour to find half a second of room tone to do decent dialogue cutting)

And Tarantino's take on it, (all takes, added a few (hundred) https://youtu.be/I2mzEW7ugTM?si=vq-u6IXE6Bpo4El_&t=1324

Found one: https://youtu.be/yqGBAH39ryo?si=4oeZzjqo1T0ggneu&t=120

What is unclear about that? Pic shows very well that it is Corona Era, and that vaccinations give superpowers to the arm getting the dose. Have you been living under a rock?

My bad, in my days I had wheels for close to anything, and most of it was bulky case like stuff.

How is that hard? You can buy handles at any hardware store / flightcase stuff site, and use rivets to get 'm on.

Yes, if you use it to generate new files, it will be subframe accurate, BUT ONLY as accurate as the sound track is synced, and as stated, YMMV. And, if you change the BWF timestamp to match the video TC, any half decent NLE will place it subframe accurate in synced clips / on a timeline. (BWF has no TC, but a sample count, thus can be positioned highly accurate.)

you are not missing something if you are a dslr shooter. But, 'proper' cams have genlock to overcome this issue. Then there is more math to be done. Transmitters introduce a delay. Even ProTools renders introduce a delay. (That could / should be counteracted....) Distance of mic causes a delay. Front speakers to ear (in a large theatre) can introduce a HUGE delay. Then, even the internal sound of DSLR's is often out of sync due to the cams being not made for pro video shooting. But there is one bright point (shameless self promotion follows.) If you record LTC on a sound track, and use my LTC convert software to alter the BWF timestamps to match the video TC, you are subframe accurate. (As BWF timestamps are in samples.) This of course is just as accurate as the internal sync of your DSLR.

Bullshit, 25P IS allowed in Europe. (I've send thousands of hours to European broadcasters, mind you, I work in Post, not in sound), but only in a 25I container! (What do you think, movies shot at 24 speeded up to 25 become 'interlaced' due to whatever magic?) An 'adapter' can be anything, but not a 'randomizer'. The 'random' part worries me, that makes no sense. (I can imagine an delay due to the complexity of the image, so the more complex, the more time the image takes to hit the output, but that 'should' be an easy test..)

What I dont quite get, I see audio TC's with frame numbers higher than 29 That is unsupported in LTC. So, to make that happen, the software has to calculate the found LTC to seconds and back to HH MM SS FF (I take it that's what Tentacle software does, my LTC convert certainly does this.) For that it needs the framerate of the LTC. That can be autodetected, but if that goes wrong (eg, it's very hard to distinuish 23.976 from 24), the math could be off. Are you sure the LTC is at a 'logical' rate? I would use 25 in your case. No clue why you shoot 50 unless you expect slomo on 'any' shot, or want to go to interlaced video. (shorter shutter time makes for less motion blur, more strobe like image)

Yes, don't repair a flat tire on your childs bike. Get as new one. So, you mean my income is 15.000 USD a month?