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Found 7 results

  1. Hello All, So I'm noticing a weird thing in EuControl when trying to create a layout and assign tracks to it for my S3? Let me preface by saying I run on Windows. I'm able to pull up EuControl from the S3 (Shift + Sel). EuControls Sees Protools (I have my session open with the track's I'd like to add in the Assign page). But in EuControl's Assign tab all channel strips (1-16) which are by default set to auto assigned, won't let me change them. If I click on the dropdown nothing happens! (I have display applications track numbers checked). Further, if I switch to the Layouts tab, it won't let me name my Layout. If I double click into an empty space everything greys out and nothing happens. I won't accept any typing. Has anyone else had this issue? if so, how did you fix it? Tried support and it's been hours -- no call back. Thanks, John
  2. Has anyone figured out how to read the timecode off of the DR-701D Tascam? I am using it in the field and the AE is not having success finding timecode in the AVID timeline. Is there a trick to find the timecode? Upon import, AVID is reading just a file starting at hour 1. The Tascam is reading TC off of a Tentacle Sync, the "TC" display is on and it is displaying running TC on the TC menu page. What menu setting am I, or the AE, not getting right?
  3. Um… this might go on a bit, anyways. I'd like to share the new AVID whitepaper on Digital Cinema Aquistition for discussion. It arrived yesterday and got me thinking about a few questions to put to the experts on the front line. My experience has been setting up workflow for films through Pre-Prod into Production and then completing Post Sound to delivery. A unique sound position, interfacing with Directors wants vs Producers needs, and all the R&D in between to streamline Camera Dept and Picture Editorial to Post Sound and Mix. This work has afforded me a huge respect for the Production Sound dept and I've been lucky to work with some of the best. The entire pdf is attached below but (to shortcut all the other BS) the paragraph I'm curious to hear any comments on is this... Audio Workflow Considerations Regardless of camera type, the decision between using a single or double-system audio workflow is based on a variety of factors, including crew size and budget. Single-system workflows can be considered more convenient, with picture and sound already in sync as part of the recording, but this method does come with some drawbacks. One particular challenge is that the camera operator will need to pay attention not only to composition, focus and movement, but audio levels as well. A double-system workflow solves this issue since there is a separate recording device and a person dedicated to monitoring the audio. Double-system recording also offers the advantage of being able to capture more than the 4 audio tracks typically found on digital cameras. Third party applications are often used as part of the dailies process and can provide the ability to sync picture to double-system sound. While many of these free applications are useful for creating “review” dailies not intended for actual editorial, they don’t usually parse or retain enough of the audio metadata, making audio conform rather problematic in post. My thoughts are... With the transition from film to digital acquisition it has always been a good idea to have embedded audio (even just the mix track) in the picture media. This has obvious advantages for dailies, etc, but more importantly as a safety check for Editorial against what the Sound Mixer is recording versus the Camera Dept. Having pretty much dealt with every combination of TC/fps/pull up/down/sample rate cluster freaks over the last 20 years this is hugely helpful when "fixing it in post". Usually the problem has been created in post by clever editorial software or inexperience when sound and picture come together. Sometimes from a problem in Production. Either way, too late to fix, make it work. There are a range of great products for returning the audio and TC to the camera, and some have hugely helpful metadata embedded which can be wrapped up in XML or MXF data to help out in post. For example linking camera audio to original Sound Mixer Media (TC and Userbits or Roll #) or as a safety check for TC slates to show what slate/take the mixer has used versus camera on actuation. Questions. Is technology at a level where we can reliably provide an AES return of up to 4 channels (preferably wireless with TC & metadata) to camera on the shoot day, so that the suggestion of the camera operator having to be concerned with levels is not an issue? If not then can the Sound Mixer be sending an AES feed to devices like the new range of Video Devices or similar for picture and sound capture, to avoid syncing dailies? With metadata to automatically relink to wider Poly Files. Is anyone doing this already and if so how is it working out? Some may be already be supplying this to video village. Sound rolls/splits would still be delivered later with sound reports, but as a secondary delivery for the wider discreet channels. Does this make your job easier or is it complicating things unnecessarily from your POV? I know how time consuming post sync of sound and picture can be with editorial trying to turn around the volume of media created with digital cameras. I also know how militant some Editorial Depts can be the first time a software link of TC and Metadata fails in post, and fair enough. How close are we to a workflow where camera audio is a reliable digital copy of the mix track (with TC/metadata) so that the camera guy can shoot, picture dept can edit, and soundpost can link to your discreet tracks with confidence in post? Thanks for making it this far, please chime in so I can give AVID some feedback. We assume too much in post. Also, thanks for this site Mr JW. It is a great resource/legacy for now and the future. digital_camera_workflow_whitepaper.pdf
  4. http://www.youtube.com/watch?v=O8PQ1vcTaoI
  5. Howdy everyone, So I am working on a post project for a feature and I imported my AAF/OMF data from a file exported by Media Composer/Symphony (not sure which). The re-recorded ADR timing is out of sync so i was going to use elastic audio to stretch/compress the takes so they fit better to the movement of their mouths. So, I made separate ADR tracks and copied my ADR takes over to new tracks and tried to enable elastic audio. It gives me this message: Could not complete your request because an audio file on the playlist is unsupported for Elastic Audio Processing as it is read only... Any ideas on how to solve this problem? Any suggestions would be great fully appreciated. Thanks!!!
  6. I was posting just prior about importing from a AAF/OMF and the files were read-only so I fixed that issue (or I should say, you all helped me resolve that problem). Now I just realized that (after editing for awhile), the sync is drifting. What's bizarre about it is if I look at the video reference in Quicktime, within the inspector window, it says the frame rate is 23.98, playback also 23.98 So, I import it into protools, but protools claims it's true 24. The mixed down reference audio matches the video and stays in sync. However, when I import the AAF/OMF file, it claims it's 23.98, and all those tracks are fall out of sync. has anyone experienced this before and what did you do to resolve your situation? Thanks for your guidance. jgbsound
  7. We are VERY excited to announce that Gotham Sound, Tekserve, and Avid have teamed up to bring you an amazing event! The Sound of Nurse Jackie: An afternoon with Jan McLaughlin and Steve Borne Saturday January 19th at 1:30 pm More info on our website! SPACE IS LIMITED SO REGISTER TODAY! Thank you! Christina "Z" Wittich Gotham Sound
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