BAB414

I'm down for this except the VTR guy doesn't have any analog audio outs...his cart is like all SDI. But as Mungo mentions below, maybe the headphone jack out of his computer is a viable option. I agree but for whatever reason (I'll ask), his system introduces delay even when in "live" mode. I think because it's so stripped down, he doesn't have all the routing abilities to give them a direct return (bypassing his software). I am feeding him a line but he is unable to give me a return as of now. The camera hop solution is not a bad idea as long as I can get a return from him to feed the comteks. I'll see if that's possible and if camera department is open to having a hop (not something I really feel like doing but might be the easiest solution right now). You're all right, it's not really my problem and I don't want to spend extra money to fix it.

I'm honestly not sure. I couldn't see it for myself but the AD, who thought I was causing the problem, said it was "a lot". I know that doesn't mean much. I'm guessing it probably is just a few frames. No one could tell me if they thought it was more than a second or not. I'll try to see for myself and maybe pick up the Sescom or AV toolbox.

It would be nice to be able to do at least 2-3 seconds, I'm thinking. 300ms is about 8 frames, which might be enough for most applications?

Reviving this thread for 2021. On my current feature, the VTR guy is using someone else's barebones cart and he has extremely limited flexibility. The DIT sends him the live feed and he outputs to the monitors, but whatever processing/compression is going on on his end in Qtake (and there's no VFX or anything like that) will SOMETIMES introduce a delay that the director finds completely unusable. If we take him out of the signal path, no issues. I have been unable to see for myself how bad the delay is but I want the ability to help delay my comtek feed on the fly if necessary. My 744T can do 30ms but they say it's way more than that. I've looked around online and there are some cheap options for little boxes, but they're either RCA, AC powered, or can't do more than 300ms. Is there anything nowadays that fits a more modern workflow (DC powered, XLR or 1/8" jacks) that can feed my base station? Not looking for a rackmount solution (smaller is better). And cheap! Thanks!

Now you've done it.

Well thanks for all the advice. Super helpful. I picked up a second cardioid so I could do ORTF but now it looks like the actor isn't having much success learning the piece and he will probably be faking it on the day. Then for inserts they are going to have a pianist play-sync to a prerecord. Don't ask me why.

Thanks Karl.

Can this be done with an ipad as well? And just with usb if you're only using a Venue2?

Thanks all. Post got back to me. The Sup and the AE didn't really know what I was talking about. I explained it and sent them the article so they checked with Netflix who said there will be no pulldown and so 24.000 and 48kHz is good to go.

That all makes perfect sense, thank you. Did they end up finishing at 23.976 by the way?

Good to know, thanks! Just reached out to Post. I'll let you guys know what they say. We're doing all sorts of interesting things like shooting 2:1 but protecting 16x9 and screwing sound in the process! They even skipped the whole sound page in the meeting which I had to remind them about. Good times.

Thank you all for all the insight. I'll probably hide 2 cos-11's inside and try an ORTF from the outside. Benefits of ORTF vs XY here?

Thanks, I checked it out. I guess because it's an older article, I'm wondering if current workflows still employ the pulldown or if they would just finish in 24.000. The math makes sense though.

Raising this from the dead. Here's the article that has been posted here before, from 2013 (?): https://www.trewaudio.com/articles/48048-khz/ I'm mixing a Netflix movie next week. Just had the Dailies call and they want to shoot true 24.000 fps on Alexa Mini LF's but they have 48kHz listed as the audio sample rate, which was probably just a holdover from their template. I don't believe they have any post-sound positions hired yet. I will not be sending audio to the camera. I have never shot true 24 or 48048 before. I will reach out to the post supervisor but before I open that can of worms: My questions are: -Do I need to record at 48.048kHz if we're rolling at 24.000? -Is the article above still relevant or is it outdated? Thanks!

Slightly unrelated but does the higher sample rate automatically coincide with 24.000 FPS (in general, not specific to 8 series)?

Thanks Dalton. How would you arrange them pattern-wise, and why not wireless? I also think the "somewhere" is very important as different parts of the piano resonate differently, no? The only DPAs I have are the larger 4098s. I know DPA is generally preferred for music applications in film. If I did lavs, it would be cos-11's or B6's.

Hello friends, I have a project coming up involving one or more scenes where a character will be playing piano. Music recording is not my specialty and while I have casually recorded some piano in the past on a few smaller projects and have been happy with the results, this project is bigger and the music is an important plot element so I want to give it extra special care. There's plenty of material online for how to mic a piano, but not so much for film. It'll be a baby grand with the top open, so that makes hiding the mics the challenge. I'll boom it of course, but any tips on mic placement and which mics to use? Right now I'm thinking of trying to sneak two MK41's inside for an XY pair (if it's even possible - I got the new short ones) or maybe something like a CUB or 2 stuck to the bottom of the piano. Would love to hear your insight. Thanks, Ben

Also, you want to do everything possible to ensure you get the performance since ADR with kids could be difficult or impossible. That's why I almost always wire them in addition to the above mentioned reasons.

Yeah but DSQD in a bag is a little cumbersome though isn't it?

I second this. Digital is the future. Also, I would stay away from the L series as far as talent transmitters. I love lectro but the LT is too bulky and can't do 250mW and the LMb can only do 50mW (maybe that's fine for your style of jobs). I was going to go all wideband but instead, most of my transmitters are regular SMQv's and most of my receivers are wideband, which gives me enough flexibility. I can always change the block on my receiver and pick a new transmitter if I need (I have 11 talent transmitters).

I don't have an answer to your question but I do know that when it comes to data recovery, the more times you access the card, the harder it is to retrieve missing data, so I would not load the card up again into anything until you have a plan or choice of software to use. I also know from the fb forums that the combination of wingman and renaming files in the 6 series seems to *sometimes* cause the missing file error, which SD is unable to replicate on their end.

Is XR the Dome LED stage they use on The Mandolorian with the Unreal Engine?

While I don't think this particular example is very good at all, I know that the tech is getting better. I could see algorithms getting good enough where as long as a guide track is recorded on set to capture the actor's performance/intention, AI could synthesize or sample the timbre and recreate everything to sound exactly as they want, with designers tweaking things like perspective, reverb and EQ. Any thoughts on how this tech could affect our job security? I'm not fear-mongering, just genuinely curious. I love this for ADR. Not so much to replace production sound.

Better yet, hardline your boom right into someone's home speakers.

What if it's an antenna that transmits and records?