New Delivery Format

Posted: Fri Mar 30, 2007 4:22 pm

Houston we have a problem.

Our main audio delivery is done to a 14 year old format (da-88) and the machines are impossible to get anymore and the parts are next to gone.
All our Da-98 and 98HR's are almost dead and the Video houses are not willing to change to a new delivery format for final audio mixes.
The problem we're facing is that there are not a lot of options out there that can record at least 8 tracks 24bit 48khz digital audio and have punch-in/out capabilities, lock to timecode, can hold a 120 minute show, don't require a computer, and a monkey can learn to use in 2 minutes. (this last one I suspect is the main reason some video post houses are not willing to change to protools or similar)

Ok, thankfully I got that out, now my question is, what are you using? are there any other formats out there worth checking out?

The last format we gave a chance was the fostexDV824, but the main problems are size (4.7GB) the lack of punch in-out edits.
-Even if one were to use protools to make the punches to the audio and the re-record the DVD for playback, The fostex uses poly wav files, but there is no software to encode 6 mono wav files from protools to a fostex poly wav. and even if there were, you would not be able to fit this file on a single DVD (due to size) unless it's a TV 22min episodic or less.

Is there something out there that is like this but perhaps uses blueray? or even hard drives?

-hard drives are cheap these days, and we can deliver all the show's stems, final mixes, splits, sessions, etc... on a single $100 drive, however without a protools, it's useless to the client.
Is there something like a standalone protools player? that can lock to timecode, have word clock in, digital outs and is incredibly easy to use (load the hard drive and load the session and you're set to layback to D5 or whatever)

**and if there isn't.... shouldn't somebody be making one?**

My 2 cents...

Posted: Fri Mar 30, 2007 11:54 pm

If they are a video post house, they must have Avid systems.
Send them an OMF of your Pro Tools session, they import into
the Avid, and layback to tape.
No Digitraslator? You can always send them files starting at 00:58:30:00 with tones and they spot it into the Avid.

Posted: Sat Mar 31, 2007 6:02 am

More and more post houses are using Final Cut Pro HD so the Avid/Protools idea may not work. You do have a problem. There are lots of DA-88 and DA-98s for sale. I just saw one at our local GC for $200.00. It was not in great cosmetic shape but from what I could see inside the deck looked well maintained. I am sure if you did some searching on EBAY or the like you could find a couple of machines without too many problems.
Shipping the hard drive is a solution but only if they can use it without a lot of problems loading it into their editor.
For the time being I would look around for some DA machines until something else comes around. MTCW

Posted: Sat Mar 31, 2007 8:51 am

Final Cut Pro is gaining more acceptance, but larger companies require networking of projects/data, so Avid is still king.
When Apple gets the project sharing thing down (and they will because they bought a company that developed a method for them), Avid can look for coffins. What I experience is established companies adding FCP to enhance the existing Avid inventory, not replace it. But certainly newer/smaller companies with no need for networking (yet) certainly use the heck out of it. From personal experience though, Avid still has many advantages over FCP.

As for the Tascam MDM situtation, those video houses that you are doing business with are about 10 years behind the times. I submit DVDs usually, or upload files to the company's ftp audio dorp boxes. Digital delivery is standard now.

Posted: Sun Apr 01, 2007 8:59 am

Quote:

More and more post houses are using Final Cut Pro HD so the Avid/Protools idea may not work. You do have a problem.

If the video post house is doing laybacks to a D5, then its not a low budget FCP house. Its most likely using many Avids.
The same answer applies to FCP, he makes 8 tracks starting at 58:00:00
Then they can be imported and spotted into FCP, FCP has machine control to layback.
The catch: FCP must have an 8 channel I/O, a Digidesign 96 I/O or 192 I/O running with Coreaudio will work. An old Digidesign 888 will work also.

Ive sent my mix stems to both Avid, and FCP systems.

Posted: Mon Apr 02, 2007 12:54 pm

Thanks for the suggestions.
We do deliver premix stuff for guide purposes on OMF's, but it's good to know we can suggest this kind of delivery to our clients, and as for FCP, if they can use old digi's 888's to output, that is also very good news for us because one of the series we'll be working on get's cut in FCP.

Thanks

Hugo de la Cerda

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