Jump to content

Bouke

Members
  • Content Count

    66
  • Joined

  • Last visited

  • Days Won

    1

Everything posted by Bouke

  1. 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
  2. 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
  3. 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.
  4. 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.
  5. 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.
  6. 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
  7. 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
  8. And the support is great :-) (I'm the developer.) Bouke
  9. 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.
  10. 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.
  11. 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?
  12. Bouke

    Delivering files from multiple recorders

    Had a look at the code, and filenames are retained if the do not conflict with existing files, in which case they get a _new addition. (So indeed to never overwrite existing files, as that would be bad...) Then, today I've added an option to the patch function to omit (leave out) specific channels. (It's more, not include in output.)
  13. Bouke

    Syncing Audio und Video via Metadata TC in Premiere Pro (Tentacle)

    well, there is my LTC convert app that can do so, but that will be at file level (thus, creating new files. Depending on the source / preferences there does not have to be a video transcode.) How many clips are we talking about?
  14. Bouke

    Wave Agent split track with TRACK INFO Name?

    The _number is only for track assignment. (At least in Avid MC) The metadata defines if files belong to a group. (Why the track assignment is not in the metadata is a mystery to me.)
  15. Bouke

    Syncing Audio und Video via Metadata TC in Premiere Pro (Tentacle)

    If the Tentacle was used to feed the TC input rather than the sound input it will be no problem. (Of course if framerates match, otherwise it's still possible but will require some serious cursing.)
  16. Bouke

    Wave Agent split track with TRACK INFO Name?

    That would be a bad idea, as you can't see the track assignment. (And that IS important sometimes.) AFAIK (can't test now), the track names are preserved in the metadata.
  17. Over here these plastic boxes are very popular: https://www.utzgroup.com/en/products/stacking-containers/ Look for the Rako series with lid. (grey / dark grey.) Lightweight and cheap. They are way more sturdy than they look, you can stand on them. The el cheapo looking white plastic closure clips are actually really good. No need for a lock. If you want to ship something, just two tie rips will do the trick. They come in a lot of sizes, all Euro sized, so they stack well in a lot of combinations, also with half open crates from other brands. Foam sized to fit is avaialable in varous thickness. Problem with Pelicase is that it does not stack on anything, and everyone who sees a pelican immediately knows there is something valuable inside. (While the caterer on the job also has these cases for his coffee cups...)
  18. Thank you for that! (I for one do fly my colours.) Bouke
  19. Hi John, Since you're not interested in making it interesting, let me piss over it; In the last 12 years I've only seen slates when shot by the clueless. Every DSLR has an internal clock, that can be synced (up to half a second accurate) to the sound device. That is quite some backup. Now, how much video post experience do you have? (Do not answer, this is an arrogant rhetorical question.) Bouke
  20. Hi John, Call me arrogant if you like, and you'll probably be right. But, with 30 years of experience in post, and with all major studios / broadcasters as clients for my software, 'clueless' is not the exact right description. Now, go shout CAMERA / SPEED / ACTION etc in front of a nervous person, then clap, then hand me 2 hours of material on 1 PM that has to air at six. And no, I do NOT want to start a pissing contest, but I am very happy to give my perspective from the post side of things. Bouke
  21. I totally second that. Clap is so 1970... And it's free with the stuff you have, except you perhaps have to create a cable to get BNC to XLR, perhaps attenuated a bit. (Do remember the BNC outputs an ugly blockwave that we call LTC.) Do test, do NOT record too loud, -18 is more than loud enough. (Volume has no influence on the signal, loud causes crosstalk and is highly annoying for anyone who accidentally listens to the track.) When you test, look at the waveform. It should be blockwave. If it is spikey, you have an attenuation problem. (It might still be readable, but it's a road to disaster.) To read the numbers and do other magic, you can use my software: LTCconvert (https://www.videotoolshed.com/product/ltc-convert-auxtc/ ) (For testing your setup the free demo is good enough.) Bouke
  22. Bouke

    Marry takes on 664

    Be aware that BWF sequencer currently does NOT create RF64, so if you're doing more than a few channels, the 4 gig limit will byte you very quickly. (I could add RF64 if needed though.) Another thing, Bwf does NOT have timecode, it has a timeSTAMP. (sample counter)
  23. Bouke

    NEW: Timecode Systems | UltraSync One

    It is probably 100% sync. You can also switch to another format and stay sync. BWF does NOT have timecode, but a timestamp. (48000 samples per second. And a second is a second in all framerates. Calculating that to TC in NDF or 23.976 does give other TC values, but that has nothing to do with sync.) LTC does have a framerate baked in, but a reader will look at the sync word at given time, then calculate the TC belonging to that and calculate the timestamps. (Hence LTC lock is way more accurate than one would expect.) Bouke
  24. Bouke

    NEW: Timecode Systems | UltraSync One

    This is just adding pulldown. So the FPS is 29.97 (frames per second), but since pulldown is added, it's interlaced making it 59.94 fields per second. These cams are steam powered afaik. (The trick was invented to shoot 23.976 on tape that could not hold other framerates.) Bouke
  25. Bouke

    NEW: Timecode Systems | UltraSync One

    I'm just reading this thread for a way different reason, but this is just so fucked up... (Yes, of course sound lines up as there is no speed change anywhere, but the image will be severely damaged.) Bouke
×