cmgoodin

Simple and obvious design concepts should never have been allowed to be patented. If you are designing a hand-held tablet it would be a bad design to have sharp corners. Rounded corners are the obvious choice. They knew this hundreds of years before Apple tried to patent the rounded rectangle. with the first hand held chalk slates. The exact size and shape of the iPad. And if you are designing a touch interface the only icon layout that makes sense is Icons the size of fingertips arranged in a logical grid. Overlapping Icons won't work and neither will Icons with sharp corners as they are likely to cause errors in accuracy because of the chance of hitting a corner of an adjacent icon when touching a choice The phone company discovered this decades ago when they created the first touch tone phones. No company should be allowed to Patent a shape or layout of controls.. Logos and Trademarks would be exempted How would car companies feel if I were to patent the Round Steering wheel. I could prevent any other cars being sold that had a round steering wheel. .

You don't want to mess with the delay in the 744t because that would change the relationship of the audio sync to the time code. Since the Video delay is happening due to processing of the output video for the monitor, you need an external delay that will only affect the feed to the comteks or to speakers for the monitors.. The Behringer Shark DSP can delay audio up to 2.5 seconds and costs under a hundred bucks. http://www.zzounds.com/item--BEHFBQ100

Unless you are shooting on film I would always make sure there is a camera mounted mic turned on. It gives you a hard reference to sync by matching up waveforms to your recorder using either your eyes on the waveforms in your editng software or an automated program like Plural Eyes. If the timecode fails you can always fall back to manual matchup using camera sound.

I would put the drives (one at a time) in another PC and run Spinrite 6 on them http://www.grc.com/sr/spinrite.htm This has brought several drives that were un-bootable or unreadable back to life for me. It recovers and re-locates bad sectors and fixes the low-level formatting without destroying data.

My 415 T from 1971 is still working every day as a VO Mic at Buzzys Recording services. Still sounds great.

So this is why I can't get through to Apple Tech support on cloudy days....

I also have a Mac Book Pro Retina. But one thing to consider in putting ALL your eggs in that one non-upgradeable, not easily-repairable Laptop is that if anything goes wrong with the Retina you could be out of luck and out of a working computer for weeks. All your programs are sitting on a non-standard interface SSD drive and you can't swap out the RAM to check for memory problems. You can't just pop out the drive and put it in another machine and continue on if you have a power or logic board problem. You are at the mercy of the "Genius" Apple support personnel. I always keep at least two other Desktop or laptop computers running all the time and up to date with all my frequently used programs. They can be older not as fast hardware, but at least I can keep working when my main machine goes down. And unless you've got another Mac Book Pro from last year hangning around that Beautiful 27" Thunderbolt display will become a large Black and Silver paperweight.

One other thing to consider is that DEVA (at least the last time I examined the files) used a different tag than everyone else in the bext metadata to indicate Time Code Frame Rate. It could be that whatever edit software or other plugin that was being used in post couldn't detect the correct frame rate from the bext data so fell back to whatever default it was last set to. This could explain the difference in interpretation from the Deva files and the 788t files.even if they were both being driven from the same Time Code Clock. Frame rate may be represented the same way in the iXML chunk but a lot of software still pulls the Time Code data from the BEXT chunk first.

It could be that errors you are seeing could not be “Drift” at all. Especially if the offsets seem to vary randomly a few frames from day to day or throughout the day. The offsets could be caused by algorithmic errors in the firmware or software used anywhere in the production chain. Because timecode in all file based media is actually calculated using an algorithm and time-stamp metadata and file constants like sample-rate and Bit Depth etc. errors can accumulate If there is an error in the algorithm used to calculate Time Code at any point in the workflow it can seem like Drift but in reality it is just a math error. Some times it can be so small that it is caused by floating point errors in some CPU microcode or rounding errors. These errors will show up even if all the clocks are very accurate and all running in dead sync. Algorithmic errors are more prevalent in non-integer timecode rates like 23.976 and 29.97 I developed a method to test for algorithmic error and you could use the following test to see if the “Drift” you are seeing is math based and not based on Drift or clock timebase accuracy. Test is pretty simple. 1. Assemble all the devices that will be used in your workflow. Cameras, Sound Recorders, TC Slate, Lockits, And Editorial software and any conversion software used in the chain. 2. Set your Timecode master clock to 00:00:00:00 and start it running. Then quickly Jam all other devices that have their own TC clocks. Shoot a series of 4 or 5 short takes (20 Seconds is long enough) Hitting the sticks on the TC slate and recording the sound on the recorder for a visual reference of hard sync. 3. Set your Timecode Master clock to 23:00:00:00 and start it running, Re-Jam everything to the new time code and shoot a new series of 4 or 5 takes. Make sure you get the test shot before the clock rolls over past midnight. 4. Take all the takes and run them through your normal workflow that ends in the Editing software that you are using to determine sync. Sync up the takes from Step 2 and Step 3 noting any offsets between the audible sync and the Camera/Sound TC frame sync. If you notice different offsets between the step 2 and Step 3 takes then there is probably an algorithmic error somewhere in the chain. To determine which device is at fault you then have a lot more work to do. You have to eliminate each link in the chain by substituting a different device from a different manufacturer and repeat the test. When the difference in offsets disappear you have found the device with the firmware or software that has the algorithm error. Unfortunately if more than one device has algorithm errors they can offset each other or be cumulative depending on where the error occurs. Good Luck!

You left out the last sentance: Scott's family told TMZ.com that reports of Scott's supposed brain cancer were "absolutely false." I guess we will have to wait for the Coronor's report.

Well the 10 cents each is over You-tubes Budget. But you could get a coupon good for $1 off a Subway Tuna Sandwich and a copy of the View Count Report for your Resume.

While no Video Frames are dropped time code numbers are skipped (2 every minute except every 10th minute) to make up for the drift.in NTSC timecode vs clock time. This plays havoc when you are trying to use those numbers to sync up sound and multiple cameras. The sync can be rubbery since correction happens at the top of the minute and right before that it is almost 2 frames out of sync. This is why you don't use Drop Frame on original camera footage that will be edited and synced later. Drop frame is only used on Video masters used in broadcast to keep the time code representative of the actual running time of the program. In this case the editorial department requesting DF was just wrong. They were probably inexperienced in the intricacies of time code and were just trying to meet delivery specs posed by You tube or whatever distribution channel was being used. Perhaps they didn't realize that Production Time Code (Time of Day code) is normally discarded after syncing and the final time code on the edit master can be any format you want. All this is further complicated by the fact that in File Based Media, Time code is calculated based on constants and video or audio sample counts. Since the start time (or time stamp) of each file is mathmatically extrapolated, math errors caused by using the wrong constant (DF vs NDF).can cause the errors to vary greatly depending on what Time of Day it was when the file was recorded using TOD time code.

I think the Fiat will be much more attractive: http://blog.caranddr...-a-ram-in-2013/ Coming to a Dodge Dealer near you next year. I can hear the catch phrase now.... "Blow your dough on a Doblo"

The miracle of this product is it seems to be immune to feedback. In all their demo situations they have the radio speaker right next to the microphone... Especially the girl playing the guitar where the microphone is closer to the Radio than the guitar she is trying to amplify. Amazing feedback elimination in a 70s product..... This must have been before the FTC was enforcing "truth in advertising"

Sounds to me like the Sony Cameras are not calculating Drop Frame even though it says it in their menu. (Sony Bug probably) Are the cameras set to a Recording capture rate of 29.97 FPS? Or are they standard 24p Hi Def running at 23.976? Using Drop frame in production is just asking for trouble. I would use Non-Drop on everything. Less a chance of software error.

Is this a live broadcast as well? Why are you using drop frame? Most video that is shot for editing later is shot with Non Drop Frame. It could be a metadata problem that the Drop Frame Flag is not being interpreted in the MXF files by the edit software or that the SONY cameras are not properly entering the flag in the metadata. Remember there is no such thing as Drop Frame at 23.976 although I know you said they were rolling at 29.97. Make sure the cameras are not set to capture at a progressive (24p ie 23.976) frame rate and outputting 59.94 video. It could also be a bad setup for the edit software. Most edit sessions are setup for Non Drop Files so that could also be the issue. Because of the way time code is calculated in file based media (not recorded as a linear track) there is always the chance of algorithmic calculation error at any point in the production/post chain.

I'm not sure what market you are in, but there are places like Los Angeles and New York where there is an endless supply fresh film school graduates with daddy's money paying for their camera and sound package and the eagerness to get into "The glamorous Movie Business" that they will work for lo-ball rates or for free just to get a foot in the door or a credit on the resume. There will always be a string of "Producers" who make a continuous good living by exploiting these well healed wanna-bes to crew Low Budget movies and spec commercials. Roger Corman has been doing it for about 50 years. He sees it as giving the first break to new talent but can actually clear a profit on those low budget projects by continuously exploiting those that want to get into this industry. Of course there is a much deeper supply of Camera operators/ DPs with their own "packages" who just want to shoot something that will go on their "reel". Same is true for Actors and Writers and Directors. A veritable endless supply of people not only willing to work for free but some will even pay for the privilege of working on a "showcase" project. It is not as bad for sound persons because we really don't have "reels" that we use to market ourselves to get better paying gigs. So producers that prey on those movie industry wanabes have learned that a sound mixer is the one position that is very hard to get for free. So they put some money in the budget because they still need to fill the position. But it ends up being a low-ball number because they are getting most of the other key positions for the price of a subway sandwich and a DVD copy of the final project. Of course the Producer wants to keep the budget a secret because the people working for free might become jealous if they find out the Sound Mixer is getting PAID. You either have to treat projects like this as an investment in promotion and provide the equipment required to do a job worthy of a credit (dubious value unless it is a great script) or just pass on these bottom feeders if you are needing to earn a living now. They will probably never move up to the big time and take you with them. There is a great movie from 1989 directed by Christopher Guest called "The Big Picture" starring Kevin Bacon that dramatizes this attempt to climb this ladder to success and all the people he has to stab in the back as he tries to climb out of oblivion in the the "Hollywood Big Leagues".

The programs work on all the netbooks I've tried. You just have to "Run as Administrator" when runing on any version of Windows that came around after XP. Just right click the program icon and choose "run as administrator" from the drop down menu. Works in a 1024x600 screen but that is about the minimum resolution. If you are still having problems just drop me a note about any error messages you may see.

Sorry Jeff, I just get so tired of everyone asking me "When is the Mac version going to be available" . I developed most of this software for myself and not as a commercial project. It took several years to develop and simply isn't possible to port to the closed system of Apple. As Jon Tatooles stated about Wave Agent, No one was interested in creating a cross platform product so they had to start from scratch and do it themselves. And maybe I wasn't clear, It is not an ad for BWF-Widget Pro. It is a link to a program I wrote for Transcription called TC-Transcriber. It has most of the Time Code Playback features of BWF-Widget Pro but is simpler to use and aimed specifically at playback of time coded files for Transcription using a foot pedal. I have never advertised the program. It doesn't even have a website so these links I posted in this forum are the only place to get it. I just posted them so people looking for transcription houses that can handle their time stamped MP3 Files can send them this link and they can use the demo to handle their project since it works for 15 days. I'll edit my above post to show the TC-Transcriber name since the links get shortened and look like they are to BWF-Widget since that is the folder the TC-Transcriber files are located in. P.S. I Just bought a new Macbook Pro Retina and it runs Windows 7 Great! But I'm not a snob about it.

I wrote a Transcription Program called TC-Transcriber that handles playback of Time Code Stamped MP3 files as well as WMA, WMV, MOV BWF WAV and most other types of media files. It has timecode displayed in a small window and when used with a serial foot pedal (with USB adaptor) will automatically transfer the current timecode to the Clipboard every time you pause or play the file while typing in your favorite Word Processor Many Transcription houses are using this along with BWF-Widget Pro for playback of these time coded files. It also allows you to set the timecode for a video File with BURN IN TIME CODE (BITC) and have that running time code track as you play the file. Below is a link to the program download. Windows Only works on any version of Windows from 98 to Windows 8. Completely Functional for 15 day trial period. Like BWF-Widget Pro it runs fine on a MAC using VMWare Fusion or Parallels. So all you Apple Snobs stop whining and just buy VMWare It is a lot cheaper than hiring a programmer to write a MAC version of a program that will only will be used by a few hundred people at most. Here is a link to the TC-Transcriber operation Manual only: http://www.bwfwidget...nstructions.zip TC-Transcriber Program demo with instructions (Fully functional for 15 days) Download, Unzip and run setup. http://www.bwfwidget...scriber1040.zip Registration to Unlock after trial period expires is $79.. Just droop me an email and I will send a PayPal invoice. I'm sorry if this reads like an ad, but since there is no website yet for this program it is sold only by personal request and does not show up on Google Searches. I am posting the links here because of the requests for such a program in this thread. -------Courtney Goodin widget@bwfwidget.com

I Think this is how Fox News would show it...

Sorbanes Oxley makes most gifts to those who are in a position to hrie you illegal or at least against company policy. Check those multipage deal memos you sign every year without reading the fine print..

I used to have a '65 Barracuda with the same slant 6 engine. Those things were very hard to kill. I think mine is still running around down in Texas somewhere. . That is why the Arabian sheiks bought them by the gross because they would run forever in an arid climate and could be fixed with simple tools and machined replacement parts.

What you might try next time is put the iPhone into Video Camera mode and hand it to the nearest Teen on the set with Attention Deficit Disorder and tell them to point it at the subject for some great artsy fartsy shakey-cam B-roll shots while you record your interview.

Boy Jay, I have had exactly that same dream and I haven't worked as a Radio DJ since 1975. I guess it is every Radio DJs nighmare. I haven't had it in a while but it was a frequent nighmare in the 80s and even into the 90s. But now today's Radio DJs probably have the night mare that the automation computer has the Blue screen of Death and the only thing they can do is open the mic and entertain the public while the machine takes forever to re-boot. Then crashes again... DOHhh