Jump to content

Fernando

Members
  • Posts

    347
  • Joined

  • Last visited

Posts posted by Fernando

  1. Thank you Mobilemike, I assumed the NOTES field was present on a file's metadata edit view,

    what I said is that it was missing on the main screen, above the meters (when used on a tablet of course, on phones main screen does not show current/next file SCENE/TAKE/NOTES)

     

    I only found one video showing Wingman in action with a MixPre, it was from SoundDevices and on the main screen the NOTES field is missing.

    On this video, when it links to the MixPre, the NOTES field disappears,

    and also SCENE/TAKE changes to NAME/NUMBER.

     

    If this is still true, I beg SD to make possible to switch between SCENE/TAKE/NOTES and NAME/NUMBER   _.II._

     

     

  2. On 3/10/2017 at 8:54 PM, Mobilemike said:

    The Wingman app doesn't offer any sort of fader control. It's great for entering notes and metadata, generating sound reports, and seeing levels but that's bout it at the moment. 

    (...)

    -Mike

     

    AFAIK no sound reports from Wingman for MixPre recorders; this feature is enabled on Wingman for 6xx recorders only.

     

    Concerning metadata enter/edit: I see that on Wingman for MixPres there is no NOTES field on the main screen, just SCENE and TAKE.

    I'd like to have confirmation on this point please

     

     

  3. Also, when using external lithium batteries (L-mount, NP1, etc) how good is the MixPre to inform on remaining power?

    Not easy with lithium because of it's discharge curve...

    specially difficult if using non L-mount batteries of higher voltage since, whatever the source voltage is, it is converted to 8V by the adapter (Hawkwoods LR-04 / LR-06) or Hawkwoods SD-1 (6V? 8V?)

     

    So, it is informative/safe enough when using for instance NP1 batteries externally thru a Hawkwoods SD-1 (sled with Hirose 4 pin)?

     

    My NP-1s for instance are at 15.8-16V when just charged. Go down to a plateau at 14.4V in some minutes and stay there for long. Then go down rapidly down to 13V where they are depleted.

    Will this be represented in a useful way on the power monitoring icon on the display?

     

    BTOH, I wonder how long it takes to deplete a 65Wh NP-1 using a Hawkwoods SD-1 on the MixPre-6

     

  4. On 4/7/2017 at 4:21 PM, dactylus said:

    I just received my Hawk-Woods dummy L-mount to Hirose adapter and I'm awaiting a Naztech PB15000 battery cable with a female Hirose connector to be able to try this out.  

    I also purchased this very low profile 2200mAh, Sony NP-F570 L Series InfoLithium Battery to use in conjunction with the Hawk-Woods dummy cell.

    https://smile.amazon.com/gp/product/B0002Y5WVQ/ref=oh_aui_detailpage_o03_s00?ie=UTF8&psc=1

     

    I would also like to see a sled with a single NP-F inline and a small integrated buffer battery that can run the unit for 5 minutes for swapping batteries!!  The L-mount sled with 7200-7800mah batteries are a definite no go!!

     

    Interesting option.

     

    One could use the Hawkwoods L-mount adapter (to use for instance NP1 on a cup) and this slim 2200mAH L battery (or one of similar size), 

    so one could swap NP1s having the slim L-mount acting as a backup while swaping.

    Would this work or I'm missing something?

     

    maybe the recorder will be using both batteries all the time so the small battery will be almost depleted when swapping the external (NP1) battery being of no use to hold the recorder on while swaping...?

     

    Can anyone check please?

  5. in your diagram you have two versions of the S signal. One normal, one flipped. That means you need to split, or multiply, the signal.

     

    No, it is simply assigned to two destinations.

     

    On Deva, Fusion, etc you assign any source to any destination. One source can be assigned to many destinations if needed (one input to many tracks for instance or one track to many outputs, etc)

     

    On 633 it could not be done on ISO tracks unfortunately (since they are hardwired to their tracks), but it could be done with mix or aux tracks as destinations I guess (IF "phase inversion while assigning" would be implemented, of course)

  6. >where would you invert the phase of S?

     

    Where it needs to : ) just look at the little diagram I did. You assign a source to a destination but phase inverted.

     

    I'm not saying you can do that with current SD recorders (that's the point), I'm suggesting SD to switch from "declaring" an MS pair to simply allow for phase inversion when assigning, so you can do it all 

  7. >It's easy to do on either device. 

     

    But by implementing it that way you can decode any source anywhere without rigid MS declarations for recording or monitoring.

    And you can invert the resulting LR (to RL) very simply (by phase inverting on the other S destination), for when you have your MS pair turned 180 degrees (you suddenly have to boom from below) or you are micing counter axis re. camera.

    And you can decode MS, Double MS and (iirc) B-Format.

     

    So it is simpler, computationally cheaper, versatile and works for anything (recording, monitoring)

  8. Yes, that's the only thing that is needed. I do it constantly on Deva for many years (and anywhere, ProTools, physical mixing console permitting that kind of routing, etc)

     

    You don't need to split the signal. You are already assigning each source signal to two tracks or two outputs or headphone's LR.

    You assign M source to both destinations and assign S source to both destinations also but the one becoming R has to be phase inverted.

    This way you generate the decoded L as the sum (M+S) and the decoded R as the difference (M-S).

    So it is just a matter of being able to invert the phase of a source at the time of assigning it to a destination.

    It is the most elegant (simplest and most computationally cheap) way to implement MS or double MS.

     

     

    ......1....2

    M...x....x

    S...x....H

     

    horizontal: destinations 1 and 2 (tracks, outputs or LR headphones)

    vertical: M and S sources (inputs or tracks)

    x: assignation matrix node

    H: same but phase inverted

    "1" will become decoded L (m+s), "2" will become decoded R (m-s)

     

    The only thing needed is controlling both sources (M and S mics) with one fader for convenience (either if you decode to tracks or only to headphone/outputs while recording the discrete M and S signals), which is already possible.

  9. Built-in Double MS decoder :) But I'm sure it will be added in future firmware ;)

     

    They should implement MS decoding in the most elegant way, which is the simplest: implement phase inversion for any channel, both on input-to-tracks and headphone selection, like on Deva.

    This way you implement MS decoding for recording OR monitoring anywhere you need, on ANY two channels, for MS or double MS.

     

    For instance, if you want to record discrete M and S signals, you send the two sources to their tracks and for LR stereo monitoring (or output) you assign M mic to LR and S mic to L and inverted phase R.

    If you want to record decoded, you send M mic to, say, tracks 1 and 2, and send S mic to track 1 and with phase inversion to track 2 and just monitor LR stereo, since it's already decoded.

     

    Is that simple. They just need to implement phase inversion of a source when assigned to a track or an output (headphone or physical)

     

    Please, oh please. That's the best way. Simple, versatile, elegant

  10. I think my 614 might be a newer model, it's got a zipper opening right where the zaxnet antenna would be.

    614a.jpg

    614a.jpg

    Thanks for the pictures!

    Although something is needed to use the antenna, not sure about that long zip there with rain or dust...

    I think a much smaller (say 2-4 cm) exit with velcro would be safer...

    BTW, It is in the right place for Fusion's/Deva's timecode cable?

  11. That's true, I may do it this afternoon.

    I suppose I could run a cable from the tc output into an input and use that to get tc to one of my tracks for transcription. hmmm.

    But be sure to make clear a shooting procedure: warn camera operator to stop AFTER you stop the recorder (so you'll have to call "sound cut!") Otherwise there will be overlapped TC on audio files.

    Unless "Autoload" is now implemented in a way that Nomad will go to stop state when incoming TC stops running, of course.

  12. Hi Phil, as well as sound recording I do transcription. Usually we get TC in the metadata of bwavs or TC panned one side and a mixdown panned the other. I can tell my software where the TC is so it cuts it from my monitor mix and feeds it to the TC reader to be added to the transcription document.

    It's pretty rare we hear from the soundies directly, which is a shame. Often it would be quicker to email with the guy recording the tracks than go through production who might not understand the tech as well.

    Hey Jon, as I said to Phil I think it depends on what software you use. I've been sent every type of timecoded and non-timecoded files imaginable, including a few recently where the soundie just read out the TC into the slate mic! It was rough but was close enough for the paper edit.

    A request from all transcribers to all soundies, please make the interviewer audible, even if they're not in the actual final cut. Guessing what the question was from the answer is no fun at all. Thanks!

    All very useful info Nick, thank you very much

    It could be great to have a list of transcription software that will use embedded metadata from our BWAV files, so we can advise transcription houses that are not up to date and make their and ours life easier.

    A list of solid, tested, widely used, metadata-ready transcription software.

    Nick, could you start that list with the software you use please?

    Thank you!

×
×
  • Create New...