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Jay Rose

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About Jay Rose

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  • Location
    Boston US
  • Interested in Sound for Picture
    Yes
  • About
    Sound designer and industry author. Member CAS and AES. Humor, articles, and studio info at www.dplay.com.

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  1. Jay Rose

    Advice on acoustically treating the room

    Get some Owens Corning 703 panels, 2" thick if you can, at a building supply. They're lightweight and can be hung with picture hooks, semi rigid so you can lean them against a wall, and can really soak up sound. They're also fiberglass... I haven't had a problem, but if you've got thin skin (or want to protect your actors and PAs) wrap them in a bedsheet or fire-rated cloth, depending on your budget and requirements. A few of those, with a couple of inches airspace, behind sound blankets hung from C stands, will tame a room.
  2. Jay Rose

    You think WE'VE got sync problems?

    Reporter (and stock exchange paying for this PR) says this is inherently safer than a digital delay, because computers can be compromised. A straight digital delay can be built with no connection between data and control, and its control isolated from the web. So you'd need physical access to compromise it... the same way you could with a spool of fiber and a couple of splices. The fiber compromise would be easier to spot, that's all. When I got into this business, you used long spools of coax to time NTSC color TV camera signals so they'd all arrive at the switcher at the same time. Otherwise, dissolves would have weird color shifts. It was a breakthrough when electronic delay lines were added. Everything old is new again? Bigger question: why? What's the advantage to a company being listed on this exchange, rather than one of the big ones where program traders care about picoseconds? Is it just that the underlying company's valuation won't 'vibrate' quite as much in the second before it stabilizes? Does that outweigh the big traders' natural inclination to favor stocks where they can pick up a few pico's advantage?
  3. Jay Rose

    Hippo Skin Vs. Joe’s Sticky Stuff

    No supplier in our industry would ever ever make false claims. Hippo Skin is only for closing surgical incisions on a hippopotamus. Any other use is a violation of US Hippo health confidentiality law. Joe's Sticky Stuff, which is gosh-darned useful for all kinds of temporary sticking, is unfortunately only generated when Joe gets excited. (Tentacle Sync can be used only when shooting hentai.)
  4. I'm confused. I just copied and pasted the link into a browser that doesn't have my NYT login, and it brought up the whole article, no problem. There's a limit to how many articles non-subscribers can access per month... is that the issue? Try again in a few days. Or clear your browser's cookies... that'll probably reset the access counter. I'm reluctant to capture and post the text, because it'll lose the graphics and internal links. (And because our livelihood depends on people respecting copyright.)
  5. Jay Rose

    2.5D Visual Sound with deep neural nets

    Definitely just the beginning, but a worthwhile launch that'll hopefully spark other developers. This initial implementation is very limited: according to my reading of their paper, the experimenters had to train the NN using the same original binaural recordings that they later collapsed to mono and processed to 'artificial' binaural. There's absolutely no reason to believe -- yet -- that it will translate to other mono recordings for which no spatial information exists... or even to other segments from the same acoustic (or the same session) for which the network hadn't been trained. It would be awesome to show that a 2.5D segment for which there was no specific training matched a binaural version of the same material. On the other hand, their demo does show it's possible to steer a signal based on seeing movement on one side of the screen and not the other. That's not quite "isolating sound sources"... but it's a start. There's a lot more training and testing necessary just to see if 2.5D will be usable outside these controlled experiments. But stay hopeful: if there's a commercial market, it could happen. -- My personal goal for NN in our business? Something I proposed about twenty years ago, when the necessary technology was where 2.5D is now. This would use speech recognition and prosody extraction from a noisy or echoey dialog recording, driving artificial speech trained from other recordings of the same actor. Truly automatic dialog replacement, no looping session required. We're getting there fairly quickly. The downside of my dream? Producers who read breathless news stories about the technique, and decide they don't need a production mixer at all.
  6. Jay Rose

    Whither BGs?

    Is this a growing trend? I've noticed it recently, particularly on some of the mainstream narrative films among this year's screeners: There seems to be a casual attitude towards exterior BGs. Some scenes are filled, others in the same film are just dialog with an occasional music stab. At first I thought it was to reflect the characters' internal states... but no, they're conversing actively about relatively unimportant (or unemotional) stuff. Many of these scenes are not through-scored, so it isn't to let the music show through. (I learned last night that Cambridge has absolutely nothing moving other than the principals, while New York is stuffed with CU traffic and walla.) Anyone else picking up on this? Or are my ears getting too selective in my old age?
  7. Jay Rose

    Sound gets no respect! Hmmmm.

    i used to give my students a mantra on the first day of my postpro class at Berklee: "Everybody say after me, 'Never give the clients what they ask for'." They'd repeat, and then while they were laughing I'd interrupt: "That's only the first half. The rest is 'Always give the clients what they want!'" If a client knew how to tune a parametric or cut a song so it sounds like it was written that way, they'd do it themselves. But they do know that something about the timbre isn't working, and the song doesn't land in the right place. So you have to listen past what they're asking for, and figure out what they're really trying to accomplish. Then do it, and they'll walk away believing you're the only soundie who appreciates their genius.
  8. Jay Rose

    Winds of non-change

    Update: Washington is shut down. The boom op has been replaced by a c-stand.
  9. Jay Rose

    Winds of non-change

    New York Times posts a photo today, to illustrate an article on new threats of government shutdown... I get why the capitol, and the boom mic could certainly suggest "news"... but why a wind screen? It seems like there's nothing moving in Washington these days, no matter what your political leanings, and probably not even the air...
  10. Jay Rose

    Is nothing sacred?

    1,000,000,000 McDonald Burgers!
  11. Jay Rose

    Is nothing sacred?

    Was anybody else thrown off seeing this headline in today's NYTimes? Have questionable credits really reached scandalous proportions?
  12. Jay Rose

    MIX and ISO Tracks levels

    ...which made it so painful when Sony decks were shipped with -20 dBFS nominal, matching +4 dBu on their analog jacks, so -12 dBFS (+16 dBu analog) became the peak level most US broadcasters would accept. Video CEs would argue with me that "yes, sending us DATs with -16 dBFS nominal or even -1 dBFS peak would be a cleaner track... but our guys would have to knock it down before they could lay it back on the DigiBeta master. So the net would be even worse, because of the additional math the playback deck would be adding. We've got better ways to measure loudness now, and deeper bit rates. But the old standard is still hanging on in ways... just like the deliberately slowed down QWERTY keyboard is still with us.
  13. Jay Rose

    MIX and ISO Tracks levels

    As a rough guide you can check this table of S/N ratios for different bit depths. The problem is when people use "signal to noise ratio" and have been trained in analog. Typically, analog s/n is specified to nominal, and headroom is on top of that. So a Nagra IV with 66 dB published s/n at 7.5 actually could record 70 dB cleanly, and maybe with 76 dB with acceptable distortion. The chart's "digital s/n" of 96 dB for 16 bits doesn't include any headroom. Depending on the device, one more dB will either give you horrible distortion, or be squashed. I've always used the convention of calling the digital measurement "dynamic range" rather than s/n, to avoid this confusion. (Of course the chart also doesn't consider electronic noise in the preamp or ADC. I can't think of any 24 bit recorder in common use today that actually gives you 144 dB dynamic range from the mic inputs.)
  14. Jay Rose

    The MCI JH 416, the other 416

    You mean they didn't mean these?
  15. Jay Rose

    The Last Kingdom

    Wilhelm (+1) at ~2:01:
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