cmgoodin

I agree with Jeff, This is probably just a display latency issue. Remember the Slate Processor only has 2 tasks when not being Jammed: Calculate the next Frame and Display it. While the Nomad Processor is doing a myriad of other tasks including Converting Audio to digital format, adjusting levels, displaying VU meters and Metadata, routing audio inputs and outputs, recording the data to multiple Cards, etc. Translating the TC to a displayable format may be way down that list of tasks for the processor since the TC display on the Nomad is not critical unless you are using the display of the Nomad as your primary TC Slate. Of course this is just conjecture on my part. Only Howie or Glenn at Zaxcom could determine if the latency is in the display since only Zaxcom knows how the hardware and firmware function. It may be possible for them to put in a correction factor to compensate for the display latency, but that may be difficult since the amount of processor load varies with number of tracks armed, sample rate, etc.

It's picking up press momentum. I saw a piece on CBS Morning show with Charlie Rose today with an interview with John Marshal and along with clips from the film and some current clips or stills and quotes from Tippy and Melanie saying that they didn't want to comment on the films re-release because it kind of goes against everything they stand for now. Here is a link to the CBS piece http://www.cbs.com/shows/cbs_this_morning/video/bxwv6rj4GsmMHUNqjcZK4_YVeqOqhxgW/-roar-actors-battle-animals-in-newly-released-1981-film/

Don't know why you posted this RIP notice today other than it is an anniversary of Henry Mancini's Birthday. He was a great composer and created some of the most memorable movie and TV soundtracks of all time. However he did pass away more than 20 years ago and if he hasn't been Resting in Peace until today it must have been an uncomfortable last 20 years. But I wish his surviving family the best on this his birthday.

It only matters to those that remember the lines. And those people can be counted on one hand. The plot is totally incomprehensible and Mativo needs to be subtitled. It did look a lot better than the DVD. It was a DCI file pulled from a German Re-Scan for BluRay. I had a chance to talk with some of the "fans" after the screening and ask them if they got what the basic story was. None of them really could tell me what was going on plot wise. It is totally being promoted by Drafthouse Films as "The Most Dangerous Movie Ever Made". And has tag lines like "No animals were harmed in the making of this movie, However 70 cast and crew members were injured or maimed". I think the number is a bit high though. It probably includes people who stepped on some sharp 9 wire or pinched their fingers in the fencing.

Crew and Laurence, If you want a blast from the past and want to relive your nightmares Roar is playing Thursday Night at 7 pm at the Arclight Sherman Oaks. It may be sold out though. I know they moved it twice to a bigger theatre because it kept selling out advance sales. https://www.arclightcinemas.com/movie/arclight-presentsroar?lid=1002 I saw it at a screening at the CineFamily Theatre tonight. The sound was screwed up though some lines were lost. I think the theatre had the 5.1 track mixed down to Stereo speakers and the phase errors caused a lot of funny problems with lines being lost. Hopefully the Arclight will have the sound configured correctly. The show I went to was sold out standing room only. I guess it has a bit of a cult following now.

Tim Cooney also wrote of his experiences on Roar in an old issue of "The Coffey Files" When Coffey Sound was publishing a sound oriented mag. http://good4sound.com/downloads/The_Coffey_Files_-_Issue_03_-_2009.pdf Tim's article is on page 41. He later fleshed that article out into a book but I don't know where it is available. I had a copy but loaned it out and it never came back. (Waelder was that you?) Tim is retired from Show Biz and now lives in the Philippines. I used to have a picture somebody took of me in the small 15" boat with 2, 650 lb Bengal Tigers while trying to hand hold an Senn. 815 to get the dialogue from the 2 actors on the boat with me while mixing on the Nagra and trying not to get eaten by the very nervous Tigers. I can't find it though... Those were the days before digital cameras and Cloud backups.

Well I guess I was on the movie the longest. I came on after Crew left and they had hired Laurence Abrams. There was an accident on the lake with a camera barge and the producers Nagra went for brief dip in the lake. So they needed someone with their own equipment and in a hurry since they didn't have any backups. I had previously interviewed for the job but the money they were offering was so low I turned it down. When they called in a panic I agreed to come on and help them out and mix for a few weeks with my own gear but at my price which they previously turned down. Well that made me the second highest paid crew member after Jan DeBont. Well the few weeks turned into a series of months and I finally finished the film 2 and half years later. They continued to pay me my original rate even when the main set was wiped out by a flood and later by a wildfire. I was never injured on the set or bitten or scratched by any of the Jungle cats although there was plenty of opportunity for such encounters. I was trapped on an island in the middle of the night during the flood and had to be pulled out using a makeshift boson's chair (harness) on a cable over a rushing flood of water while they tried to round up hundreds of loose Lions and Tigers that escaped when their compound was ravaged by floodwaters. It was quite a harrowing experience and I enjoyed the month we spent in Africa shooting some of the amazing establishing shots. Laurence stayed on as my boom operator later to leave and be replaced by the films Elephant Trainer, Tim Cooney. I will never forget those years in the company of madmen. They certainly were a great training ground for improvisation and how to get the sound when most would think it was impossible.

You might try Teflon Paste. I used to use stuff like this to reduce noise in the CD/DVD Drive head rails. http://www.ebay.com/itm/12371287-GM-Synthetic-Lubricant-Paste-With-Teflon-3-Oz-Container-/321230444319?hash=item4acad3971f&vxp=mtr Spray on stuff is probably to thin to stop noise. But the Teflon Gel is like Petrolium Jelly and lubricates but absorbs vibration of the bearings. It may not slide at full speed but will probably be quieter when it does.

Many editing systems and import software ignores the iXML chunk of BWF files and just pulls metadata from the bext chunk and sometimes selectively from that. If your notes were only in iXML chunk they may have been stripped on import.

I wonder if the defense will try to get the recordings thrown out.. They have already floated the trial balloon that when he was in the bathroom he had some expectation of privacy. However it was not a secret to him (Durst) that he was wearing a wireless mic that could record any utterance he made. So it will be an interesting court test of legal admissibility of material recorded over a wireless mic when the wearer is not on camera.. Hope they have enough other evidence to convict or Durst comes clean and confesses in court. They guy is defiantly a case of spoiled rich kid (now old man) considering himself above the law.

Don't think so, it seems to be attached to a quick release coupler to something under the Hi Hat. Note the wedges. I bet with that Worrall Gear head and no Ball mount it was their way of leveling that 250 lb camera.

I'm more curious about the high pressure air hose that seems to be attached to something under the Hi-Hat base-plate of the camera. I wonder if that is some kind of air bladder to stabilize the camera on a rough dolly track. I don't see any kind of sand deflector around the lens. I bet that would make recording usable sound impossible.

I saw this short on TCM called "The Soundman" Produced in the day of Optical Sound Recording. There are a lot of shots of Vintage Equipment before the advent of Magnetic recording. One curious thing though. In the scene where they show the Re-Recording Mixers, there is a shot over the shoulder of the Mixers At about 5:40 that show a "Digital VU meter" (really a row of incandescent lamps lighting up indicating instantaneous level) Identical to the LED meters found on all our Mixers today.... Mind you this is in the day when they were mixing Optical sound tracks and recording on Film. Here is a link to the Video on You Tube... Worth a look if you haven't seen it before https://www.youtube.com/watch?v=KZPZHxePvWo

Congratulations Phil on a long and difficult road. Enjoy some well deserved time off. It was good to work along side you on a few occasions over the 6 seasons of Glee. You and your crew were always helpful and made my job easier. Thanks,

My fear is that if Apple bought Tesla and then took over the car manufacture they would apply their 70% margin making the Tesla cars price beyond the purchasing power of the common man. They are already at about the limits with their $60,000 entry price. Also they would require you to subscribe to Apple only Toll roads and charge you an on-going rate for every mile driven. If you wanted to use electricity from a non-apple owned utility to re-charge the batteries they would charge a 30% royalty on all watts purchased. Also the batteries would be sealed in the car forcing you to purchase a new car every 2 to 3 years.

And if you listen to the Temescal Canyon track you can hear a lot of cable noise rattling in the fishpole.

I don't know how many of you bothered to go to the website Squarespace setup to go with a Superbowl commercial for Jeff Bridges. Very weird. It is kind of funny to watch Jeff Bridges traipsing around in the dark in Temescal Canyon with a bag rig and fishpole Recording his "relaxing Sounds for his album "Dreaming with Jeff" Some of the tracks are mildly amusing and certainly interesting in an audio perspective. Can't figure out if it is sincere and on the level or just a viral video designed to promote SquareSpace. Fun for a little diversion. And if you download it and donate the donations go to Jeff's favorite charity. http://www.dreamingwithjeff.com/#!/jeffstutorial The Album for streaming or download: http://www.dreamingwithjeff.com/#music-section

Odd that when they cut to a closeup of the VU meter at about 2:05 they are monitoring the Pilot level (constant level signal) instead of the VU audio level. They must have just had a blank tape and nothing to record for some VU signal. I guess most lay-people wouldn't notice that.

Although it never caught on as a professional or consumer product, the Sony NT1 was probably the most technologically innovative small recorder made. It was tiny and recorded digital sound on the worlds smallest cassette tape cartridge. (smaller than a postage stamp") And it had a mechanical transport and helical spinning heads that required No Tracking (that was what NT stood for). Of course this was before recording on Solid State Flash Ram was feasible or affordable. http://www.sony.net/Fun/design/history/product/1990/nt-1.html

No that is the revolutionary part it requires no connection to the brain and works on telepathy alone. And it is powered by the muted screams of producers complaining about your package rental cost. I see it as a Win WIn...

Hummm... That spherical shape doesn't seem very practical. And that glowing illumination is going to kill the battery life

Not sure if they did it, but in most Live situations where the Music is pre recorded they also have the vocals recorded as well in the studio but those tracks are usually muted so the actors are singing live along with the pre recorded music. But if there is a wireless problem or mic failure they can instantly fall back to the pre-recorded vocal track. Could be that was what happened in the first scene. The audio for first songs with the Darlings in that scene sounded too clean to be live mics on stage and that was where the sync was in and out. One other possible problem I saw several bit block errors (MPEG dropouts) in the bottom of the frame on several shots in the first scene. Could be the wireless transmitters on the Steady Cam rigs were taking hits and the latency of those compared to the cabled Jib Cams could have cause sync discrepancies from shot to shot. Those would normally be fixed in post but in Live TV no way to do it. Not sure if those video dropouts were only in my reception chain but I usually don't have them in other programming.

There were lip sync problems here in Hollywood. What I would guess is that the whole first act was lip-sync to playback because of all the noise from the special lighting, projectors and Wire Rigs. Once the big flying scene was over and they hit Neverland the sound was more live. I can still hear a lot of fan noise from the varilights or other DMX Robolights. no doubt. They could have covered it up more with some cricket or frog BG tracks though.

I was too distracted by the numerous gaps in logic and holes in the story to notice the ADR usage. Perhaps they were to fix even more script problems that were discovered when they tested the film with audiences that weren't afraid to point out stupidity in the plot. Unfortunately enough tolerated stupidity remains to spoil the film

I was looking around the You Tube and found one of my favorite old programs. Connections with James Burke. In the below linked episode he outlines a personal assistant on his MAC laptop while in India and it bears an uncanny resemblance to Siri or Google Plus. This show was produced in 1997 almost a decade before the iPhone was announced. So let's hope Apple didn't notice this video when they were filing patent applications for Siri. The pertinent part starts about 2 minutes in. And if you haven't seen the rest of the series it is a fascinating look at the various connections between historical events and scientific discovery. It had 3 series all of them amazing. ----Courtney http://www.youtube.com/watch?v=91XWKv5UuCM&feature=player_detailpage&list=PLN4k4qrIgJwQx0qC8iU2gsAfB0dsyEhpe