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About cmgoodin

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    Hero Member
  • Birthday 06/13/1950

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  • Location
    Hollywood, CA
  • Interests
    Audio & Video
  • About
    Sound mixer and Video Engineer since 1968
  • Interested in Sound for Picture

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  1. A couple of weeks ago I bought a new Zoom F6 recorder in order to examine how Zoom is dealing with time code and Broadcast Wave metadata. And to see how to deal with 32bit float Broadcast wave files in my software utility BWF-Widget Pro. I was quite impressed that for the price, ($650 US) this device is very versatile and pretty high quality. The mic pre-amps seem pretty good and the internal time code generator is very accurate and holds sync well. Add the ability to act as a computer recording interface and 8 or 10 track recorder at the same time is also a bonus. I did find a few anomalies in the BWF metadata having to do with their formatting of data for frame –rate and numbering for cue marks. I pointed these out to the manufacturer’s reps and they have told me they would send them along to the engineers and developers in Japan. In the meantime I made some changes to BWF-Widget Pro to program around the non-conforming metadata and to correctly handle the 32bit float files. So if you are a user of BWF-Widget Pro and have the time code Zoom production recorders like the F8 , F4 or F6, shoot me an email and I can send you a link to the download of the latest version (1.201) which will clear up any playback and conversion problems with files from the F series recorders. Just curious if any members of this forum have had a chance to use the Zoom F6 and if they think they have a place as a production recorder for daily use. I know it is really designed for the Reality show or You Tubers who need something at a reasonable price but capable of using professional time code for sync. Seems to me to be a pretty good backup machine to keep on-hand to save your bacon if your primary recorder goes down. Also because of the 32bit recording and dual A to D converters and Auto-mix it would make a great “Plant in the Car and forget” recorder for those driving shots where there is no room for the sound mixer and wireless transmission is not practical or reliable. ---Courtney Goodin GoodSound www.bwfwidget.com
  2. Syncing to Network time will not work for most US users that are tied to 59.94 hz clocks for timecode. NTSC timecode (29.97 or 23.976fps) does not run in real time. You can jam to a network clock when you first turn on a TC generator, however unless you jam all other generators to that one you will drift at .1 %. from Network (real time of day). By stating that Laptop or Computer clocks are not very accurate I believe the OP was referring to crystal of the normal laptop not being as accurate as most Temperature Compensated crystals used in all pro Time Code Generators. So long term sync between different free running devices will not be frame accurate even if they are both running at the same integer time base frame rate..
  3. You can watch the official NAB Live stream here: https://www.nabshow.com/show-floor/attractions-pavilions/nab-show-live-studio It starts broadcasting Monday Morning at 9 AM Pacific Time
  4. Just read the report that Oscar nominated sound professional Frank Serafine was killed over the weekend in an auto mishap. Many here knew Frank as he was influential in pioneering digital workstation use in post production among many of his other achievements. https://www.prosoundnetwork.com/post-and-broadcast/frank-serafine-oscar-winning-sound-designer-dead-at-65 He will be missed. ----Courtney
  5. Chet was amazing. I was a big fan in the 60s and 70s. He was amazing how with his re-strung guitar he could play Bass, Rhythm, and Lead Melody all at once without any overdubbing. Who needed Les Paul's multi-itrack machine when you had Chet on guitar.
  6. Outstanding Sound Mixing For A Comedy Or Drama Series (One Hour) Game Of Thrones • Beyond The Wall • HBO HBO Entertainment in association with Bighead, Littlehead; 360 Television/Startling Television Onnalee Blank, CAS, Re-Recording Mixer Mathew Waters, CAS, Re-Recording Mixer Richard Dyer, Production Mixer Ronan Hill, CAS, Production Mixer The Handmaid’s Tale • June • Hulu MGM, Hulu, The Littlefield Company, White Oak Pictures, Daniel Wilson Productions Joe Morrow, Re-Recording Mixer Lou Solakofski, Re-Recording Mixer Sylvain Arseneault, CAS, Production Mixer Mr. Robot • eps3.4_runtime-error.r00 • USA Universal Cable Productions and Anonymous Content John W. Cook, II, Re-Recording Mixer Bill Freesh, Re-Recording Mixer Joe White, Production Mixer Paul Drenning, ADR Mixer Stranger Things • Chapter Eight: The Mind Flayer • Netflix A Netflix Original Production Joe Barnett, Re-Recording Mixer Adam Jenkins, Re-Recording Mixer Michael P. Clark, CAS, Production Mixer Bill Higley, CAS, ADR Mixer Westworld • Akane No Mai • HBO HBO Entertainment in association with Kilter Films, Bad Robot, Warner Bros. Television Andy King, Re-Recording Mixer Keith Rogers, Re-Recording Mixer Geoffrey Patterson, Production Mixer Outstanding Sound Mixing For A Limited Series Or Movie The Assassination Of Gianni Versace: American Crime Story • The Man Who Would Be Vogue • FX Networks Fox 21 Television Studios and FX Productions Doug Andham, CAS, Re-Recording Mixer Joe Earle, CAS, Re-Recording Mixer John Bauman, CAS, Production Mixer Judah Getz, ADR Mixer Fahrenheit 451 • HBO HBO Films in association with Brace Cove, Noruz Films, Outlier Society Productions Tom Fleischman, CAS, Re-Recording Mixer Henry Embry, CAS, Production Mixer George Lara, Foley Mixer Genius: Picasso • Chapter One • National Geographic Imagine Television and Fox 21 Television Studios Bob Bronow, Re-Recording Mixer Mark Hensley, Re-Recording Mixer Tamás Csaba, Production Mixer Twin Peaks • Part 8 • Showtime Rancho Rosa Partnership, Inc. Ron Eng, Re-Recording Mixer Dean Hurley, Re-Recording Mixer Douglas Axtell, Production Mixer Waco • Operation Showtime • Paramount Network Brothers Dowdle Productions Craig Mann, Re-Recording Mixer Laura Wiest, Re-Recording Mixer David Brownlow, Production Mixer Outstanding Sound Mixing For A Comedy Or Drama Series (Half-Hour) And Animation Barry • Chapter Seven: Loud, Fast And Keep Going • HBO HBO Entertainment in association with Alec Berg and Hanarply Todd Beckett, Re-Recording Mixer Elmo Ponsdomenech, Re-Recording Mixer Benjamin Patrick, CAS, Production Mixer Family Guy • Three Directors • FOX 20th Century Fox Television Jim Fitzpatrick, CAS, Re-Recording Mixer Patrick Clark, CAS, Production Mixer Modern Family • Lake Life • ABC Twentieth Century Fox Television, Steven Levitan Productions, Picador Productions Brian R. Harman, CAS, Re-Recording Mixer Dean Okrand, CAS, Re-Recording Mixer Stephen Alan Tibbo, CAS, Production Mixer Mozart In The Jungle • Domo Arigato • Prime Video Amazon Studios Andy D’Addario, Re-Recording Mixer Chris Jacobson, Re-Recording Mixer Ryotaro Harada, Production Sound Mixer Silicon Valley • Fifty-One Percent • HBO HBO Entertainment in association with Judgemental Films, Alec Berg, 3 Arts Entertainment Todd Beckett, Re-Recording Mixer Elmo Ponsdomenech, Re-Recording Mixer Ben Patrick, CAS, Production Mixer Outstanding Sound Mixing For A Variety Series Or Special 60th Annual Grammy Awards • CBS AEG Ehrlich Ventures, LLC Thomas Holmes, Production Mixer Mikael Stewart, Production Mixer John Harris, Broadcast Music Mixer Eric Schilling, Broadcast Music Mixer Ron Reaves, Front of House Music Mixer Thomas Pesa, Stage Foldback Mixer Simon Welch, Stage Foldback Mixer Eric Johnston, Playback Music Mixer Pablo Munguia, Pro Tools Mixer Josh Morton, Post Audio Mixer Bob La Masney, Sweetening Mixer Jesus Christ Superstar Live In Concert • NBC Universal Television, The Really Useful Group, Marc Platt Productions, Zadan/Meron Productions Thomas Holmes, Production Mixer Ellen Fitton, Production Mixer John Harris, Production Music Mixer Brian Flanzbaum, Music Mixer Mark Weglinski, Music Playback Mixer David Crawford, FOH Mixer Dan Gerhard, FOH Mixer Mike Bove, Monitor Mixer Jason Sears, Monitor Mixer Christian Schrader, Sweetening Mixer Last Week Tonight With John Oliver • Episode 421 • HBO HBO Entertainment in association with Sixteen String Jack Productions and Avalon Television Steve Watson, Production Mixer Charlie Jones, Music Mixer Patrick Smith, Music Mixer Steve Lettie, FOH Mixer Anthony Lalumia, Monitor Mixer Jason Dyer Sainsbury, Pro Tools Music Mixer Max Perez, Pro Tools Mixer The Oscars • ABC The Academy of Motion Picture Arts and Sciences Paul Sandweiss, Broadcast Production Mixer Kristian Pedregon, Re-Recording Mixer Tommy Vicari, Music Mixer Michael Parker, Monitor Mixer Tom Pesa, Orchestra Monitor Mixer Mark Repp, Orchestra Monitor Mixer Patrick Baltzell, House PA Mixer Christian Schraeder, Supplemental Audio Mixer John Perez, VO Mixer Pablo Munguia, Pro Tools Mixer The Voice • Live Finale (Part 2) • NBC MGM Television, Talpa Media USA, Inc., Warner Horizon Unscripted & Alternative Television Michael Abbott, Broadcast Production Mixer Randy Faustino, Broadcast Music Mixer Kenyata Westbrook, Reality Supervising Mixer John Koster, Production Reality Mixer Robert P. Mathews, Jr., Production Reality Mixer Brian Riordan, Re-Recording Mixer Ryan Young, Re-Recording Mixer Tim Hatayama, Re-Recording Music Mixer Eric White, Re-Recording Music Mixer Shaun Sebastian, Monitor Mixer/Music Mixer Reality Michael Bernard, Music Sub Mixer Carlos Torres, Interstitial Music Playback Mixer Christian Schrader, Supplemental Audio Mixer Andrew Fletcher, House PA Mixer Outstanding Sound Mixing For A Nonfiction Program (Single or Multi-Camera) Anthony Bourdain: Parts Unknown • Lagos • CNN CNN Original Series and Zero Point Zero Production, Inc. Benny Mouthon, CAS, Re-Recording Mixer The Defiant Ones • Episode 1 • HBO HBO Entertainment and Silverback 5150 Pictures in association with Alcon Television Group Christopher Jenkins, Re-Recording Mixer Gabriel Andy Giner, Production Mixer Jane • National Geographic National Geographic Studios in association with Public Road Productions David E. Fluhr, CAS, Re-Recording Mixer Marc Fishman, Re-Recording Mixer Lee Smith, Production Mixer Derek Lee, Scoring Mixer The Vietnam War • Episode 6: Things Fall Apart (January 1968-July 1968) • PBS Florentine Films and WETA, Washington, DC Dominick Tavella, Re-Recording Mixer Wild Wild Country • Part 1 • Netflix A Duplass Brothers Production in association with Stardust Frames Productions and Submarine Entertainment Chapman Way, Production Mixer
  7. The Heil PR-40 is one of the best Dynamics around and comes in gold. https://www.amazon.com/Sound-Dynamic-Studio-Recording-Microphone/dp/B00S8EIO4O Used by many radio stations and Podcasters. Maybe you can have Bob Heil send you one for product placement. ---Courtney
  8. Happy Birthday Jeff... Hope to see you this Saturday
  9. did you mount the internal drive on a MAC over USB to play them back? Could be that MAC or Windows 10 placed hidden file-system files on the drive which the Roland 88 is choking on. Does it playback files recently recorded on a freshly formatted (in the Roland) Card? Is the SD card a SDHC or SDXC? Try recording on an SDHC card (<=32GB).
  10. Joseph, Sorry for the name confusion. So you must be 006.
  11. James, I have never seen one of these "QDAN" devices before. But building and operating transfer systems (transfering 1/4" to 35mm and 16mm Mag) I believe it was a take counter that counted the dropuouts in the 60hz Pilot signal and generated an audio Beep that could be fed into transfer system to record on the Mag Film. Nagra had a bloop system that could generate a bloop tone on the tape or work silently and just interrupt the pilot signal for a fraction of a second when triggered while recording.. When you are transferring a series of takes on 1/4" they can run one into another (especially on documentaries where there are not slate IDs.) Without bloop tones it is hard to tell when one take ends and the next one starts. When the transfer person hears the beep from this device he could write on a log the take number from the Nixie Tube readout on the QDAN and write down the footage from the counter on the 35mm Mag transport. The SLO had something like this built in and could drive a solenoid operated Marker Pen to physically mark the 35mm Mag every time it detects the silent bloop signal thereby not disturbing the recording yet marking a visible sync mark on the audio Mag film that could be used to sync up dailies. the Bloops were either triggered manually while rolling continuously or triggered by the camera's built in bloop light triggered by sync cable or QRRX radio receiver every time the camera rolled.
  12. I think this is something similar to something I built for the Arri BL2 in the late 1980s. It is a digital Footage counter for the Nagra 4 series. The Nagra 4.2 & 4S only had an optional clockwork type tape counter that replaced one of the guide rollers and was not very accurate. This device would take the Sync Out signal (60 HZ) that appeared on the Accessory or Sync Connector whenever the machine was rolling. That signal would clock a digital counter that calculated footage based on the tape speed selected. It would also advance a second digital counter every time you rolled so you would have a take number and footage readout for logging. That's my best guess although I have never actually seen one of these. ---Courtney
  13. I saw Dunkirk at the Arclight In Sherman Oaks in 70MM Film projection. I found the track louder than any other film I have seen. I also was annoyed by the buried dialogue and the constant use of Synthesizer "Chug Chug Chug Chug" bursts of white noise to heighten the dramatic moments and add to the din of the music and explosion sounds. I felt the "SFX" or Score artificial and it kind of took me out the the moment as it drew attention to itself. I think there was a lot of work that went into the sound (mostly in post) because the Imax 15 perf cameras are not blimped. (some of the closer dialoge scenes were filmed with Panavision 5 perf 65MM Sound blimped cameras). Typical of most Nolan films there was almost zero character development and so you had trouble identifying with the characters since we don't even know their names in most cases much less their backstories. I think we had the most empathy for the Mark Rylance character and his sons? And he didn't show up until quite a ways into the film. Of course because of Nolan's obsession of not paying attention to time or continuity it is impossible to figure out the timeline. They constantly cut from day scenes to night scenes to dusk to high noon and back to night, while we are supposed to believe this takes place over just a day or perhaps 2. Who knows? One thing I did like was because the film was shot on celluloid and mostly had a photochemical finish (no computer DI), it thankfully lacked the over stylized color palate that most tent-pole movies sport these days. This added to the more realistic depiction.
  14. The hash is probably caused by not having the decoding software (Audacity?) set to the proper Bit Depth, Sample Rate or Track Count. Don't know if Audacity will automatically look for the data chunk in the wav file but if not, the offset of the other chunks in the file header can screw up the interleave alignment and create the hash. Raw PCM data is stored in a single chunk that is organized 2 or 3 bytes per sample (2 for 16bit 3 for 24bit), then next 3 bytes is channel 2 sample 1 then channel 3, sample 1, channel 4, sample 1, etc. then next sample for each channel in succession. So any mis-alignment of the start byte of the data chunk or incompatible decoding settings cause the samples to be interpreted incorrectly as the interleave doesn't line up.
  15. When choosing some dual rack-mount video monitors for my Video playback rig I looked at the Black Magic Duo-Vue but found the limited inputs and lack of user controls without a computer connected a problem... I ended up with the LILLIPUT RM-7028S Dual 7" rack mount and have been very happy. They support Composite, 3Gb SDI and component analog, as well as HDMI, are native 1280x800 IPS panels which have good viewing angles and have front control buttons for choosing between input sources and adjustment. They are a little more expensive than the Black-Magic but the ability to support multiple inputs including analog and front panel controls sealed the deal. I think the resolution and brightness are better on the Lilliput monitors and Viewing angle of the IPS pannels are much better. https://www.amazon.com/LILLIPUT-RM-7028S-Monitors-Monitor-Broadcast/dp/B00GT66CQA
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