tonymuricy

Thanks guys! I'll check the suggestions. Tony Muricy

Folks: wouldn't this device from Remote Audio be a solution for the lacking of a battery meter in the VR Field? http://www.trewaudio.com/products/remoteaudio/remotemeter/ Best wishes Tony Muricy

Hy Folks! I've shot a feature film with my Sound Devics 788T, recording poly multitrack wav files with timecode. These files have been sinced in telecine with the image, but just the mixdown channels. Now they're doing the sound editing, in Argentina, and they say that they're going to resinc all the audio files manually! This seem quite absurd to me, because there should be a way of resincronizing the audio files by time code automatically in post, or am I wrong? I've seem this "Sync N Link" software for Final Cut, would there be a similar software for Avid, or Pro Tools? Any ideas wil be most welcome. Best wishes Tony Muricy

Hi Folks: I also noticed this time code drift in my 788 when I left the TC cable cabled on it during the day. The TC would drift quite a lot, and after some time - one hour - it would be very apparent when you switch to the time code jam window in 788's display. What I do now is to sinc the slate and everything else I have to sinc from the 788 and immediately unplug the TC cable. No more Tc drifts now. Best wishes Tony Muricy Rio de Janeiro, Brasil.

Hi Folks! I´m Tony Muricy, a brazilian soundman living in Copacabana, Rio de Janeiro. I was born the same year Eric Toline started getting involved with audio, 1957! I started beeing a studio assistant in a film mixing studio here in Rio, then have been a boom op, and finally a sound recordist, specially because my children were born and I had to raise my earnings! I´ve been a soundman for 22 years now. I´ve been doing all kinds of shoots during this time - from features to commercials, from docummentaries to reality shows, from video clips to political campaings. I´m also a founder of our brazilian soundmen association, APSC. I´m a music lover, a chromatic harmonica player. I have a twin sister, Maria, who also deals with film sound, but as an sound editor. Now she has her own finishing house, and I think it´s really fun that we both work with film sound, me recordind, and she editing and mixing... And it´s a honor to be able to join this group, thanks to Internet and Jeff´s iniciative! Tony Muricy Rio de Janeiro, Brazil

OK Philip. Now I got the idea. I´m going to talk with the finishing house and the producers about it. Lets see what goes on. Thanks a lot Tony

Philip: Thanks for your reply. But this TC problem is a bit different from what you understood: The question is that the TC is not missing (drop-out) sometimes, but it is FREEZING. So we have, let´s say, TC frames 1, 2, 3, 4, 5, 6, 6, 6, 6, 6, 7, 8, 9,... One option was that when they cloned the tapes, maybe we could copy the bad TC into camera Ch 1 audio track, and mixdown both audio tracks into camera Ch 2 audio track, just for the editing. The we could keep this bad TC track as a 4th audio track in the Avid, carry it up to the end of the editing, and then use this TC on audio track 4 on it´s good points to find the audio sinc on the dats. Because there are good TC moments both in camera and on DAT tapes. But actually I don´t think that the Avid will be able to track the bad (frozen frames) TC on the Dats either. So I think that maybe the best option would be: to check the audio quality of the audio tracks on the camera tapes. If they´re ok, and they should be, because I´ve sent the Fostex PD4 line outs to camera, and these are recorded on digital tracks on DVCam, then they could consider the camera tapes audio to be the final audio, because there´s quality, and they´re are already sincd with the image! This way they could clone the image tapes WITH it´s audio tracks, sinc, which are going to be the final tracks, and not use the DATs audio at all, except in the four image tapes without audio, which they´ll will have to sinc manually, or where the image tapes audio have any kind of problem - dropouts, saturation, etc... Thanks a lot Tony

I' ve just finished a DVCam shooting of a DVD about one of Brazil´s greatest composer and player. By request of the finishing house, we run Rec Run 29,97 Drop FrameTC on camera, and sent it from the camera to my Fostex PD4 dat recorder TC input. But now we found that in almost every take the tc from the camera freezes for a few seconds then runs normally again, then freezes and so on. The Avid is not accepting the DV tapes like this, and they can´t be logged. There´s a suggestion that we copy all tapes again with a new continous TC, so the avid may read it. But then we´re going to loose the TC sinc with DAT tapes, which should be resinced in the final steps to be mixed. As in 20 out of 24 tapes I´ve sent the line out of the PD4 to the Line In inputs of the camera, I´m suggesting that they use the sound actually on the tapes as the sound source for the editing and mixing. This way even if they change the TC on camera tapes, the sound is actually there, and if imported into the avid correctly, and handled correctly by the image editor, it willl reach the mixing with the necessary quality. I´m also suggesting that if they go this way they sinc immediately the 4 camera tapes which run with camera , mike and my sound on dat tape only. I know this is not the perfect way to go, but now we have to find the best sound solution with the last cost for the production company. If anybody has some other suggestions, they will be most welcome. Thanks a lot Tony Muricy - Rio de Janeiro