cmgoodin

I believe the USB port is only for a PS2 USB keyboard for metadata entry. There is a Firewire port for external drive though. You can plug in a DVD or Ext HD. The external HD must be formated by the Fusion though. ---Courtney

I did take a look and asked a few questions. Looks like basically a re-packaged Deva 5.8 lite. It has similar front panel and touch screen and identical I/O and pot layout. Buttons on the front are different in their labeling. Less metadata input controls from the buttons and more from the touch screen. The configuration he was showing was setup with a Zaxcom TRX900 stereo Camera Hop attached to a right-angle bracket on the right side. This was connected via short custom pigtail cable to the camera 10 pin connector on the right side of the Fusion and used the ifb channel for camera monitor return. Unit records to MARF (Proprietary format) on one CF card then copies or creates the BWF file onto a second card when you stop recording. Although Glen indicated that this copy process could be going on in the background while recording a new take. It seems to be really a Deva 5.8 with the internal hard drive replaced by a CF card and no internal DVD drive. The second card is formatted by the Fusion using Fat 32. It will not take CF cards that have been formatted in other machines or in your laptop. So if you have a CF card you have pulled out of a SD machine or with playback files from your laptop, it will not play on the fusion. In order to record in the Fusion on card from another source, you must format the Card in the Fusion erasing everything. I tried putting the fusion formatted CF card in a SD 744 and it was not able to mount and use the mostly empty card to record files unless it re-formatted the card. So there is basically no interchangeability in either direction between the Deva Fusion and the SD 744t although they both record on FAT32 formatted CF cards and create Standard Broadcast Wav files. I also put the Fusion formatted CF card in a Marantz PMD660 and it was able to record it's files in its own folder without having to re-format. I didn't get a chance to ask Glen if the unit could be used in telecine to chase-lock to time code using a 9 pin RS422 control. Perhaps you can still get a look. I think Glen said he was going to be in town through Sunday and was going to attend the CAS awards on Saturday night. ----Courtney

Brian, BWF-Widget Pro can create ALE files from from the Production Sound DVDs and store them on the DVD. Those ALE files contain all the metadata for the Scene, Take, Reel, Time Code In and Out and Track IDs and Notes. If Cinema Tools can read these ALE files and use that to batch import the Sound in the Sound Edit suite perhaps that would help eliminate the need for the manual entry of the metadata in a flex file during telecine. ----Courtney

Sounds like an apt description of the X48. It is a Windows XP computer in that rackmout machine. It just bundles the software and I/O hardware together in a turn-key device. There are so many variables in the PC world that putting the hardware and software together helps eliminate interface incompatibilities and the chance that a second manufacturer of a key piece of the puzzle will go belly up , sell out, or dis-contine the product and render the system useless. As far as reliability is concerned I would think that a X48 type machine with only a Hard drive and easily replaced USB CF adaptor would hold up pretty well. Unlike their multitrack digital tape decks, other than the Hard drive (an easily replaced part) and the fans, there are no moving parts to break or wear out. Especially if operated remotely by the telecine controller. It also has full Gigabit networking so files could be dropped on the hard drive from any cheap PC or Mac on the network. And unlike a desktop PC it is dedicated to one function so would be less likely to suffer the crashes and virus infections of a machine that serves as an internet portal and has a large number of different software packages installed. Besides if you were to assemble all the parts on a free-standing Mac or PC to do the same thing it would cost considerably more than the X48. 48 channels of Digital and Analog IO, SMPTE Timecode generator, Midi control, RS422 control, Tri-level sync board and GUI recording and editing software interface and hardware based metering and transport controls all from different companies would be a headache to assemble and keep running and the cost would be prohibitive. ---Courtney

Marc Have you looked at the Tascam X48? According to it's specs it has all the requirements of telecine, like Video or Tri-Level sync reference, 9 pin sony protocol for remote control and chase-lock sync, and is based on embedded Windows XP so external drives can be mounted through the USB2 ports. This could easily accommodate a USB2 CF card adaptor. I don't have one so I can't verify that it would work in telecine, but it seems to have all the requirements and is relatively cheap and could also be used in Re-Recording since it accommodates up to 48 tracks. It has analog and Digital I/O available. It also could accommodate USB2 or firewire Hard drives used for backup on set. I know this is sounding like a promo or ad, but I don't own any Tascam equipment so I can't say it will work properly, but it has all the specs and the price is attractive. ---------Courtney

Did anyone else notice the dedicated button on the face of the Fusion marked "Wireless" / Mon. Could it be there is still a wireless link planned for this machine? Why else would there be a button labeled "Wireless". ----Courtney

Marc, I think the new Tascam X-48 has firewire ports and USB-2 Ports for mounting external drives, so an external CF Card reader could be plugged in and then accessed directly to use in chase-lock mode just like the internal HD. It has full Sony 9 pin remote control and external Sync reference (Tri-level or Black Burst). You may also be able to use the cheaper Tascam HD-P2 as it says it will chase lock it's CF files to external Time Code. As far as durability. I think CF Ram is the most durable Media available. It's hard case and recessed connector make it pretty indestructible. Much more durable than a DVD-RAM or DVD-R or DAT tape. They are pretty hard to crush. I have even had people say theirs have been run over by trucks and still work. The question about failure rate has to do with re-Write cycles. Flash Ram has a limited number of times it can be re-written before it starts to get flaky. But since BWF recording is pretty linear and creates long files, I think the longevity Limit would never be reached. Especially if the CF card is archived and not repeatedly used. Where they can fail is where they are used as SS Drives in computers that repeatedly write to the same sectors and log files every time they boot. Of course you can always damage the pins on the card socket (in the device not the card itself) . But if you use an external USB CF card reader (about $10) you can easily replace them if they get damaged. ---Courtney

There should be no difference in speed because both are at the pulled down rate so no Sample rate conversion is required and there should be no drift. Since the sound TC on SD machine always starts at an even second it should count correctly if brought into a 23.976 project. There should be no drift. I'm not sure where FCP gets the TC rate from the sound file. Does it read the rate stored in the bext chunk or the iXML chunk or neither? (My guess is neither and it just sets the rate to whatever you manually tell it it is.) If that is the case just tell FCP that the sound TC is at 23.976. My guess is the editor has setup the project incorrectly if he is experiencing "drift". If he is syncing manually to a TC slate, He should sync up (align the sound to picture) only at an even second.. (i.e. on the 00 frame) ----Courtney

As I recall, a wireless mic with portable battery powered receiver played a pivotal role in the 1958 Orson Welles film "Touch of Evil". Charlton Heston used it to trap Quinlan (Welles) in the final scenes. I assume it must have existed and been in use during that period to be used on camera as a plot point. ----Courtney

Writers voted today to authorize a strike if a deal isn't reached by the end of the month. Read more Here: http://www.reuters.com/article/newsOne/idUSN1933406320071020 ----Courtney

I think there was some difference in tonal characteristics especially in the low end. The 415 had a richer low end. probably because the DC voltage blocking coupling caps in the DC supply could be 15 v instead of 50 V. More energy on the low end and could account for the increased level as well. -----Courtney

Well, as I recall when the 816 and 416 came out I purchased new ones (both 12 v T powered) and found the x16 T models to have a lower output level and thereby higher noise floor (about 6 db) than the average 815 or 415. I complained to Sennheiser and they stated that there was no difference in specifications between the x15 and x16 models. I went to Audio Services (now LSC) and put up 5 815s, 1 from me and 4 from the rental dept. and measured the output levels and frequency response on their test rig. Then measured 3 or so new 816s off the sales shelf. The 815s all were about 5 to 7 db hotter and had a lower noise floor. Although Sennheiser will never admit it, I inspected the circuit boards of each mic and found they changed the transistors and coupling caps in the new designs. I think they modified the circuitry so they could use the same boards and most parts for 48v phantom version that was also coming out in the 816 line. However when used with 12 V T power the noise figures were higher. To this day I like the sound of my 415s over my 416s. So if you can find a good 415 or 815 there is still some life left in those old workhorses. -----Courtney

Also remember you want to start a new file every 2 GB. BWF files are consistently readable up to that size. When recording a performance you should be able to start a new file at song breaks etc. ---Courtney

I noticed the week after the Meltdown happened, Bill and all guests had Dual Lavs on. Probably dual transmitters as well. I guess they aren't taking any chances of the live failure again. Most live network newscast use the Dual Lavs. I guess they were saving money until disaster struck. ---Courtney

Jeff, I replied to Phil on the Ramps board. I think a lot of the problems with convoluted workflow stems from editors who aren't familiar with all the possibilities or the differences between all different types of projects an AVID can create. The differences may seem subtle but can cause big problems when you try to mix sound from 2 different sources into the final project. Avid in their effort to make it "simpler" seems to have made it less flexible, and projects that were started at one frame rate or "type" can not be fixed or changed. You have to start over and re-digitize everything. There seems to be 2 types of Avid 23.976 projects. One from 24fps FILM that ingests telecine tapes with audio that has been slowed down. Then there is the 23.976 NTSC project that ingests HD and SD 24p tapes that are shot at 23.976 FPS and have audio at 48K (no slow down). Perhaps the 695 Education committee needs to put together another seminar with the local 700 editors and post supervisors and try to make light of the variety of problems and the resulting Super Twisted workflows that are emerging. At the last CAS workflow seminar 2 years ago, I posed the question about how to bring in files from Hard Disk recorders into a project that was slowed down in telecine, and I think they didn't really have an answer. Perhaps now there is a prescribed workflow for each type of project that needs to be gone through in detail and explained to everyone involved in the entire chain from Production (including Camera) all the way to HDDVD Release and Film Out. In many cases the Tail wags the dog. Distinction needs to be made from 24 FPS film that was transferred to 23.976 HD/SD and stuff shot on HD at 23.976 originally. ---Courtney

Philip, Once the capability is built in to the hardware it could be automatic. Like that blue-tooth headset or plug and play devices on your computer. I agree the sooner we convince production that Rec Run timecode is a bad thing the better. I think as we move to cameras that record on non-linear media like flash cards and hard drives, that the REC RUN concept will disappear. It is a holdover from old single camera ENG days and is not useful in today's multi-camera and multichannel iso audio HD recording world. -------Courtney

Well, of course I may be dreaming. But without dreams nothing would ever be invented. As you can see from that slippery iPhone in your hand, WiFi circuitry is now evolved to where it is standardized and easy to incorporate into any small portable device. All that would be necessary is writing the PHP code to handle the queries and agree on a tag terminology. like the kind I use in my MP3 Tags "SC=" for Scene "TK=" for Take "TC=" for timecode etc. Once everyone agrees on the exchange protocol it would be easy to incorporate a small routine in each machine that, if connected to the wireless network, would poll the server at regular intervals or when the record button is hit. It wouldn't change the workflow or be affected by future changes to the workflow. This is a protocol that would unify the source of the metadata but not affect how that metadata is used. I mean we have been using Scene and Take numbers to Identify materials in the Film business for over 100 years. ---Courtney

Phillip, I tried writing one years ago when Dencke came out with the GR-1. I had a prototype working, but there were problems with the GR-1 and using its simple RS-232 interface. I tried to get Mike to change some of the Print routines so it could spit out the TC via a remote trigger, but it never got done. I still have GR-1 Serial # 001. Horita has some logging software for the PC. (or did) not sure if it still exists. What I would like to see is establishment of a Wireless metadata interchange protocol. A standard that machine manufacturers could get behind so you could use the ubiquitous IP wireless protocol to exchange metadata like Scene and Take number, Time code, etc. A WiFi metadata server could be setup up on the set and the script supervisor could be responsible for updating the Scene and Take number, the time code could come from the server and be captured by the Slate, which would display the Scene and Take (electronically) and the Time code. The Audio and or the Digital capture device for the image (or camera) would also receive the same time code and scene and take info and automatically incorporate it into the metadata. A wireless smart slate would be used for those cameras that can't use the metadata or don't have the wireless connection. Since the information (including the Slate info) would all be coming from he same server, there would be no chance of them getting confused or out of sync with each other and we could not have to worry about trying to enter scene and take metadata into a machine without a keyboard, and get back to mixing the sound. -----Courtney

Well, Don't know of any Mac software. But perhaps with a PS2 to USB keyborad adaptor, you could use the Horita TC Wedge. TCW-50 http://www.horita.com/ . It will capture the TC or User Bits from an LTC stream and send it as keystrokes through your in-line connected keyborad. Then you could build an excel spreadsheet and just hit the button to grab the TC from the Wedge. Probably works better with a PC. But might work on the MAC with an adaptor. ---Courtney

How old is this posting? I talked to Joel Marshall last week or so and he said he was selling Atomic Film co. So I don't know if this project is still on track. Perhaps he is taking it on personally. He has always been a kind of innovator in the world of editing support hardware. But I think business has been so bad with editing moving from facilities to individuals with FCP or an AVID in their basement, that he decided to get out. He has been selling off all his Kem and Moviola editing machines at 17 cents a pound. Sad but true. ---Courtney

No Scott, my settings are correct "enable instant on" is checked under streaming. It starts to play after a few minutes of downloading. The problem is that the quicktime compression is to bulky for streaming. It can't decompress and play while downloading at any decent resolution. This is why it stalls and re-starts constantly, because the downlaod bitrate is not fast enough to stay ahead of the player which consumes a lot of bandwidth. I have quicktime Pro 7.1.6 . the browser plug in doesn't let you show the video at any size other than the limited size the host website sets. If I were to save the entire file then open a separate quictime player I might be able to go full screen (with the pro version) but not in the browser. For a 20 minute file that would take a long time. ---Courtney

No they don't. I have Quicktime Pro ver 7.1.6 on my PC (written by apple) and it behaves exactly as I stated. It is just poorly coded by Apple. Microsoft doesn't have anything to do with it's poor performance. Quicktime is neither quick or timely. If they wanted to make the tutorial able to win people from the other platform they should give them a good example of the quality of the experience they will face when using Apple software. I don't think they did a very good job with the browser plug-ins or the Quicktime player for Windows. They are very annoying. And it plays just as badly on my mac. In fact the link won't play at all now. (no error messages) ----Courtney

I would comment but just trying to view the 20 minute video makes me want to never click on a "Quick"time embedded object again. I have a pretty fast DSL connection at my office 1.5- 2 MB MB down. And the link comes up and sits there for 3 minutes with no explanation of what is going on. No "buffering" or "opening media" message... just a blank screen. Then it finally starts to play and about 3 minutes in it suddenly stops playing and re-starts from the beginning. It did this several times. And I had clicked on the Medium size which was a tiny window in my 1280x 1024 screen that couldn't be re-sized or made to be to full screen. If this is the way the "iLife" applications perform, then no thanks. I watch full screen streaming video in Windows Media player or in a Flash video player that looks great even when sized to full screen, which you are allowed to do without paying apple extra money. They should re-name it "SlowTime". If they are trying to win over converts from the PC side this behaviour of the Streaming Quicktime demo is not going to do it. I had iLife on my mac mini (last years model) and was unimpressed. The word processor was limited and not compatible with Word. The rest of the apps were pretty much similar to what is bundled with the average PC which usually includes Microsoft Works. This includes a Spreadsheet, Word processor, PowerPoint type presentation software and calender/ address book. Garage band is a nice application that is included that I don't think there is a normal equivalent on the PC. iMovie and iDVD are similar to Microsoft's Movie Maker and Power-quest's DVD Producer or Roxio EZCD/DVD maker that is sometime bundled. Let me know when they have a Flash or Windows Media download demo for the iLife 08 and I will take a look. ----Courtney

And you think lip-sync is bad now.... Have you ever seen a stage show that operated with live actors lip-sinking dialog to a playback track? Unless there is music or unless the actors have rehearsed with the track hundreds of times, it is almost impossible to get the lip-sync right. ---Courtney

Seems the shiny new toy can bog down WiFi Networks. Apple has not responded yet. http://www.theinquirer.net/default.aspx?article=41032 ---Courtney