[Bouke Vahl]

Hi Tangier,
Did you try rotating in QT7?
This will change only the metadata for the rotation.
Not sure if FCPX will honor this though, but worth a test.
(If that works I can add it to QTchange.)

Bouke
http://www.videotoolshed.com

[Bouke Vahl]

I disagree.
With H265 this should be very well possible.

(and with long GOP codecs, the framerate does not matter that much.)

Bouke
http://www.videotoolshed.com

[Bouke Vahl]

Nothing works reliable.
DCP ‘should’ be on EXT 2, with proper block sizes and stuff…
That works almost always, except the one cinema here in town where they only accepted NTFS, not even EXfat.
I have no clue why it is so difficult for them not to have a PC in the network. (They always have a PC, never networked with the projectors storage for some reason.)

Bouke
http://www.videotoolshed.com

[Bouke Vahl]

How about a roundtrip with XML and a text editor doing a custom search/replace? It’s only the display name in the bin…
(I think the lead editor is perhaps a bit arrogant, why not keep bins with shoot days?)

Bouke
http://www.videotoolshed.com

[Bouke Vahl]

[Michael Gissing] ” It’s a perfect word for adding a spiritual dimension back into technology.”

Yeah, too bad Kai is no longer doing public stuff.

Bouke
http://www.videotoolshed.com

[Bouke Vahl]

It is sometimes very hard to grasp what the cost of maintenance is.
Our local university charges 1000 euros per year per workstation.
Those are 400 euro office machines, running Word, Excel, Powerpoint and perhaps SPSS.
In case of a problem, you’ll loose everything that you have stored locally, as the first step is to swap out the harddrive with a fresh copy of a standard image.
I have no clue why it has to be so expensive, but I do know that I’m in the wrong business.

[Michael Gissing] “automagically”

I’m gonna steal this one for my next project!
(Will be a button next to the ‘cropacity’ slider.)

Bouke
http://www.videotoolshed.com

[Bouke Vahl]

Hi David,
Please enighten me, what broadcaster in Europe accepts 4K in what format to be transmitted without transcode?

Bouke
http://www.videotoolshed.com

[Bouke Vahl]

too fast…
It has to be 25 interlaced, even if the content is progressive.

Bouke
http://www.videotoolshed.com

[Bouke Vahl]

MXF Op1a 50 Mbits, aka Sony XDcam with 8 discrete channels, where channel 1 and 2 are left and right.
UK is different, they want AS-11

Are you talking commercial or regular content? For commercials you also need some more stuff, see here:
https://www.videotoolshed.com/product/spotxml/

This will help you getting it right the first time.

Bouke
http://www.videotoolshed.com

[Bouke Vahl]

Hi Tangier,
My remark was about the file properties, not about something else, so no worries, I’m very much approachable!

It’s a strange way of thinking, but once you grasp the logic, it all makes sense. (And it sucks that a lot of terminology is used double / wrong / badly rounded, that does not help…)

Wave Agent displays the SAM somewhere in the middle of the lower part of the interface.
What it means with ‘keep start TC’, is that the TC numbers will stay the same even when you change the TC rate:
This is in general a VERY bad idea to do, as then the numbers have no relation anymore with the internal clock.
So, as I told you, renaming ‘should’ be fine, but be VERY VERY afraid if WA tells you it needs to update the metadata.
UNLESS you are very sure, do NOT press ‘save’, and in all cases, UNCHECK ‘keep start TC’, as it will keep the start TC, but might change the actual timestamp. Confusing? Not so much, read on.

Samples after midnight means EXACTLY what it says. But, it is midnight when the TC generator of your BWF recorder is reset to 00:00:00:00
(And luckily nowadays close to anyone shoot TOD, so it sorta kinda matches the wall clocks.)
Oh, I call it Samples AFTER midnight, Sound Devices calls it Samples SINCE midnight. It’s the same.)

Now, SAM is the same as TC, but not in HH:MM:SS:FF format, but as an absolute frame number.
(Hence I call it time STAMP, not time CODE.)

In your case, on renaming, the file has also a Time Stamp for being a digital file. (Actually, it has two, ‘created’ and ‘modified’.) This is confusing, and probably the ‘modified’ will update / change after WA renamed it (as it was indeed modified) but has nothing to do with the internal BWF SAM.

And, if you record @ 48K, you have 48.000 ‘audio frames’ per second.
Thus, if you start recording when your recorder displays 00:01:00:00 (one minute after midnight), the SAM as written in the file is 2.880.000 (60 seconds times 48K samples)
This in not very well human readable of course, especially when it gets later.
At 23.00 PM, the number is
23 hours * 60 minutes * 60 seconds * 48000 samples per second makes
39.744.000.000
This sucks for humans, so any device / software will calculate it back to TC, that you can read in the blink of an eye
(23:00:00:00)

Now, as you know, the number of video frames as well as the play speed differs between the video frame rates.
You like to shoot 23.976, so to divide the large number back to TC, there is a 0.1% difference, making some 83 seconds difference.
The speed as recorded (thus, how the math should be done to show you the TC numbers as intended, is most of the time baked into the BWF file. But it is up to the device / software if it will do the math based on that value, or another one. (Depending on what you want to do with the file / will solve problems.)
In theory, editing software will NOT use the calculated TC, but the samples itself. This way you can sync up / place your audio on the timeline sample accurate instead of frame accurate. (That makes a big difference.)

So, depending on the setup:
The file is the same, the actual values are the same, but the TC displays are different, making up for lots of stress sometimes ☺

(And I’m only touching the surface of more fun that can be had with these relative very simple file format…)

Hth,

Bouke
http://www.videotoolshed.com