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Everything posted by Bouke

  1. No, he's holding it right!. He's recording a seagull. As you know some birds know when you are looking at them. (Seagulls are famous for trying to steal food.) So, he's not looking at the bird not to scare it off, and obviously the bird is circling above / behind them. Bottom line, as always in film- tv production: Never let the truth get in the way of a good story.
  2. This is new information to me, and is the actual practical answer to the question I originally asked about how precise timecode (meaning LTC) is. Thank you! Do you have a source for further reading? You totally did NOT understand a word I've written, start over please this is NOT the case with BWF files. BWF files DO NOT have timecode, but a frame label, where each sample is a frame. This has been written in this thread several times by several people. Please, start over from the beginning, you have not grasped even a bit.
  3. I've done enough bitching for one day, let's all not forget that it's the person who is important. Borjam has in his sigline: "Don't worry about the drums. I'm a percussionist, I can play on carton boxes" - Peer Wyboris So true: Zappa when he was young. (Do click the link!) Must see, not a cat puking funny! Then there was a phrase (I forgot by whom) 'I don't care how many tracks you have, how does it sound?' One of our local rock 'n roll heroes was also a painter, he once (for a stupid TV show) painted with shit on the cheapest paper he could find, using a piece of chewed wood as a brush, making the statement that an artist should be able to work with whatever he has. I once wrote here about Robbie Muller, who worked with whatever equipment was available. It's about mastering the craft, adapt to situations, not the equipment. /rant
  4. I feel left out. How does the calm act makes mixes worse? The whole idea was to make the overall loudness equal, so TV commercials are 'as loud' as normal programs. Thus, the whole compression / harmonic tricks are useless to 'stand out to the rest'. This gave back the ability for mixers to use high dynamics, overcoming the 'peak limits'. This is, IMHO, a GOOD thing. What am I missing? I do understand that 'smart' devices might interfere. (Like the 'auto scaling' on images, change aspect ratioos with or without letterboxing / scaling, 'smart' scaling, whatever did horrible things to original framing.) About Netflix: Netflix is (afaik) the only major player that has loudness requirements with 'outdated' specs. I don't care if the specs are public, the implementation of the specs is not, there is NO open source software available for their specs. That is plain arrogant IMHO.
  5. If you are a very slow reader... I did read it all, and it's not really interesting for normal production, as we all rely on stuff that is available today. Most stuff nowadays just works, and if you need enhancements in your workflow, people like me are available to improve it. But with off the shelf products, it IS possible to create something. (And that has been the case since the stone age, see cave paintings.) The article isn't that interesting to me, and in some points plain wrong. (Don't get me started on how to use math to solve 'issues'.) The interesting point is the TLX project, where some smart people are trying to solve problems before they exist. (I don't think that ever worked fully, but there are a lot of examples where things have been made 'quite' future proof, but sadly a lot other examples where a new standard was outdated the day it was introduced.) What we all know, we have two standards, that's not practical, let's introduce a new one to overcome that, now we have three standards...
  6. Not really. Imagine the following scenario: You're standing on a track, a high speed train is coming towards you, traveling at 100 meters per second. The train is 100 meters away. When will you get hit? Does it matter how long the train is? Now, unless you have digitized the timecode (assuming LTC, timecode can also travel as metadata, or in old fashioned 422), a bit has a length measured in time, not in samples. Samples is only relevant in this matter if you know the samplerate. Normal LTC has a 'sample rate' of 80 per frame (80 bits...) Thus, in theory, timecode COULD be used for syncing like Wordclock, as every piece of equipment knows exactly when a new 'frame' starts. (Note, 'video' frame, an audio frame in the digital world would mean sample), like the engine of the train, that's the part that will hit you. I've discussed this some years ago with Ambient, and we agreed that this indeed 'could' be implemented, but afaik, no one ever made something like this in hardware. My software LTC convert however does this. Since it knows highly accurate what the relation is between video (always starts at a full frame) and audio, it is possible to do subframe accurate syncing. But only if you either go over XML or change the BWF timestamp instead of the video timestamp. Following this logic, it is also possible to sync two files and correct for speed changes, by measuring the time between the first and last found LTC frames, and do a tiny bit of math. But there is no need for this. If you don't have long recordings, with any half decent piece of equipment you will stay in sync. Speed differences without wordclock / genlock will only occur after half an hour, or way more. For very long recordings, just bring the good stuff. More important for phase / timing issues are your precious wireless thingies. A typical wireless mic will introduce 19 msecs of delay, and that is about half a video frame, thus, A LOT. (What I don't get is why not everyone is shooting Mono Wave, and give a -19msec BWF offset to the tx/rx files, and while we're at it, compensate for the distance of the boom to the subject.) As said, there are plugins that will take care of this in post. And normally post WILL give an offset every now and then. (Blowing up a building is normally filmed from far away, say 300 meters. Sound travels at 300 meters per second, so to get the sound in sync with the image, you have to give it an offset. Is that logical? Yes and no, it's not how it is perceived in the real world, but it is in movies, like spaceships exploding, space is vacuum, carries no sound, but go to the theater...) Conclusion, Get friends with some post guys, ask what they like, and indeed, test test test. (And then test more : - )
  7. I don't get it. iXML is plain XML, but since the entry needs 4 digits, an i is added to make it 'intelligent'... Ripping it from a BWF file and saving it as XML is quite simple. For adding metadata, does FCP support XMP? If so, that is not too hard to implement either.
  8. Pff, normally on mailing lists you change the header with something 'commercial' or alike. I am guilty as well, I do interfere to sell my stuff every now and then. Bouke
  9. Bad mic, onboard mic on cam, but content is king! skip to some 4:30, when the engine is really running.
  10. I don't recommend anything special, but I DO recommend you test. Since there can be delays close to everywhere (display, incoming / sending over Tx Rx, latency of an AD converter, silence before your clap sound etc), LTC convert accepts an offset (positive and negative) for everything. Mind you, LTC is more than frame accrate. As it has a specific start / end of the bits in one frame, its possible to sync up to some 2 milliseconds. The display / visual slate TC should be no more than a last resort. hth, Bouke
  11. For live broadast it makes no difference at all. DF is intended to know HOW LONG a show is. A show starting at (first frame 01:00:00:00) and last visible frame (Note NOT tc Out) at 02:00:00:00 in NDF (mark the absence of semi-colon) 29.97 or 23.976 is NOT an hour long, but 0.1% shorter. That makes planning / timetables difficult, hence DF. Thus, masters at 23.976 . 29.97 are expected to have DF tc. (In a way 24 and 25 are also DF, as the TC follows the 'time on the wall'.) On a side note: (Keep in mind I'm an Avid picture editor.) You can choose between dropping app. 1 frame every minute (hickup in the video), or live with going out sync slowly. Now, no clue what kind of show you are doing, but most of the time 'action' cams 'dash cams' are used as FX shots, close to never longer than 30 seconds. Getting out of sync is no issue for such a short shot, but syncing IS. My QTchange can help 'a bit' with that (I've added something for drone shots, to convert file creation time to NDF, could do about the same.)
  12. Leave it and let post deal with it. It's a slow down, NOT a standards conversion. Avid MC can do it straight out of the box, so can a lot of other NLE's. DF / NDF has nothing to do with the 30 slow down to 29.97 btw...
  13. Watch the 4th part of Four Rooms, Tarantino has a 15 min (or about) monologue. (Fun movie anyways.)
  14. Bouke

    Gps tracker

    Pff, no clue where you live. Over here, if you can pinpoint the stuff, NOTHING will happen, so you have to go in yourself, risking a fight with bad guys, and on top of that, a lawsuits cause it's illegal. I totally get the sentiment to get your stuff back. (I need to recover my 1500 euro MacBook), but I also know that the price to recover it will be HIGH, and probably not worth it.
  15. Bouke

    Gps tracker

    Invest in insurance. Even if you know exactly where your stolen equipment is, what are you going to do? (Really, you could march in with an axe and chainsaw, and get back what's yours, but when the shit hits the fan, you'll loose. Sadly, but this is the way it is, for reasons.)
  16. I know about speed change for 23.976 / 24 workflows. (Old style video to 35mm, I did work on Avatar, all rushes from Mocap, including 'not so' sync sound from BWF have been processed with my software, so I think you can trust me when I state that I do know what I'm talking about.) I also know about how Samples after Midnight convert to TC. I've spent WAY too much time on explaining that BWF DOES NOT carry TC, but a 'frame number' (Starting at 1, not 0, but that's too much into detail...) I did not intend to criticize your work in any way, I merely wanted to state that 1000/1001 (as the 0.1% math is often described) is to be preferred over 48048, as that refers to changed sample rate to do a speed change. I do have an attitude, not sure how long you have been around here, on on other lists, most people do know me a bit and do know that there is no real evil in it. (I'm a coder / used to be a video editor.) Sure, why not? I did not intended to start a war, hence the disclaimer in my offending message.
  17. You did, you use 48048 or 48000 to identify speed for your Samples to TC calculation. (Where the frames are missing btw...) I would use video FPS (Drop or non-drop) to give a preview about what the TC will look like. But lets agree to disagree.
  18. Thanks, found the issue and fixed it. (Bext chunk contains non-text where I expect text...) I'll make an update later today.
  19. There is no 'weirdness', changing the sample rate to get TC 'right' is weird, this might fuck up things big time. If you don't know what you're doing, step away and let the big boys take care of it. (Insults intended, sorry...)
  20. Eeh, I'm offering help just for debugging / fun. As a Pro, just trash the unit and buy something that is proven to work. Of course, all location sound stuff is HIGHLY overpriced, but what war do you want to win? Go with the flow, my rate only with my effort on your system problems makes no sense at all. TRASH the unit, get something that does the job, or post on a list / forum / site with people who like to have problems. ( Sorry to sound so harsh, I have my own issues at the moment.)
  21. Please send me the file from Logic, I know there used to be an issue with Logic files (some non-standard stuff), but I thought that was worked out. I did a test run with LTC convert, and it works fine. (But it does not really 'do' anything except reporting.) For fun, download this: https://we.tl/t-MVaRKTlPWx Drop it on the left side of LTC convert, enable 'expect breaks' and scan. When done, doubleclick on the filename in the interface, and it'll show you where the breaks are.
  22. My LTC convert can scan every frame and give a report on jumps / breaks, if there is a LTC track present. https://www.videotoolshed.com/product/ltc-convert-auxtc/ Just enable 'expect breaks'. (I must say I forgot how it reports, but it does do 'something'. It's late here, can't check myself now.)
  23. avid MC can do this, if you know what you're doing. I suspect PT to be a able to do the same, as well as Reaper, and others. It all depends on what you want. Setting a new Timestamp (FU, BWF does NOT carry TC) is not that hard.
  24. Check the difference between LTC and normal TC. I bet you won't see a difference. If the master LTC clock was sound, and sound has one long file, and video clips before and after are ok, there is something fishy with the video file. Check the file size and compare it with other files, see if there is a significant size difference to what should be expected. Try LTC convert to create a new clip. And, try LTC convert to re-stamp the BWF to match the video TC. If any of the two fail, send me the files.
  25. Again, as always, BWF does NOT carry timecode, it carries a Time Stamp, in Samples after Midnight. That can be calculated to To TC, but the time stamp itself is WAY more accurate. (SInce it's sample accurate.)
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