Any question answered...

Haha. Works for me

@danstuff, I think @spotter is correct. The Mar 19 date shown is for *gridserver.com (presumably the hosting org) and not for escape-technology.

NET::ERR_CERT_COMMON_NAME_INVALID
This server could not prove that it is http://www.escape-technology.com; its security certificate is from *.gridserver.com. This may be caused by a misconfiguration or an attacker intercepting your connection.

Well I don’t have anything to do with that, nor do I have anything to do with sales, just trying to help/save a forumer some money

You're right, he is right. Or at least, something is misconfigured somewhere.

I seem to remember at least one of those climbs was related to heavy flooding in Thailand with a number of manufacturers being based out there and a big cut in supply.

LTO is a faff and needs dedicated workflow and management but it's the only true long term storage option for video.

I don't understand headsets.
Does anyone know which type of headset I need for a tricross singlecross?

S.H.I.S

https://www.parktool.com/blog/repair-help/standardized-headset-identification-system

https://blue.canecreek.com/headset-fit-finder

Ugh. I would say bring back the days of tape but the storage space would be mad. I remember the faff with retrieving tapes - in fact.... here we go. Throwback to one of my early forum posts:

https://www.lfgss.com/conversations/155007/

So many of those tapes just ended up slowly moulding in a basement. Probably spent 30+ million quid on acquiring all that footage over the years in the value of cost per package. I remember digitising a few of the rare tapes to shove on Getty at some stage. Still have the AVIs somewhere.

LTO is a very different best to the analogue days but I completely understand the reservations. There's basically a few things you have to consider, like, how much data will you be producing, how often have you had to access footage from long dead projects, can you bill clients for storing it etc. Nearly all of the post houses and agencies I've worked with pay for storage of drives and LTO's off site but they're usually dealing with hundreds if not thousands of terabytes every year. It's a massive ballache and definitely not a job I'd want.

Thanks - still have no idea what I'm looking at but I will dig in and figure it out

Err ... any professional video editing type people in the house?

I'm having a problem with some audio work I'm doing for some ads. They are telling me all the audio I'm sending them is out of sync, like it's all slightly late, however they are perfectly in sync with the videos they have sent me that I am working to.

They have sent me an earlier video with audio that they are happy with and I've done a comparison to what I'm working with. It seems in their previously completed videos with sound, there is 5 frames of silence at the beginning, however with what I'm working to there needs to be 10 frames of silence with the same audio source to be in sync. Is it possible they are somehow adding 5 frames to their exports that they are giving me that shouldn't be there? They are on Premier btw, and also they are refusing to accept it could be anything their end of course.

Maybe it's just escaped the bounds of certificate technology?

It's worth getting to grips with.

But it's a common bike, so I'd guess a bit of a Duckle would find the specs anyway.

Feel free to DM a copy and we can take a look/compare to their 'findings'.

Generally depending who you're sending it to for TX/who's doing the send you'll need something like:

silence 10 secs
tc starts (10:00:00)
6 frames silence while video plays
then 6 frames silence at the end of copy followed by hold frame for 10 secs.
You may require 7 seconds of clock and 3 seconds of black at the front as well.

Have you been given tech specs from a broadcaster? And who is "they" in terms of the people telling you it's out of sync? Send companies like IMD/Honeycomb etc won't do anything to your files unless you pay them usually so I doubt they're adding something. And to be honest they wouldn't care that the audio is out of sync unless it's misaligned with their expected timecode. I.e. a couple of frames of out of sync lips isn't going to matter to them so long as their QC machines don't flag that there's audio outside of the stipulated parameters.

What are you exporting from if they're on Premiere?

Didn't take too long too figure out what I was looking for.
My brain just shuts down when it sees strings of numbers.
Thanks for your help!

I work in sound post, so maybe not the sort of help you need. can be tricky to get to the bottom of these things... so i’ll just suggest a few possible issues:

Is your finished audio file the same length as the guide audio they gave you? I mean exactly the same!

When you are working on the audio are you laying it back to the first frame of picture? Are they? Are there any frames of black?

(It sounds like you’ve touched on a possible issue with the frames of silence discrepancy).

Or is there a sync pop as reference?

Often confusion with the start point can throw a spanner in the works.

Check the length of the picture you’re working to, to the video they’re laying back to. Make sure you’re both working to the same cut.

It could help if they send you their out of sync layback, so you can compare it to what you’re working to (which is in sync?). As I’ve said.. check the edit, length and the start point of the first frame of picture. Sorry if I’ve missed the point and have not been any help at all! :)

6 frames silence while video plays
then 6 frames silence at the end of copy

worth pointing out that although these 6 frames front and back are required 'silence' (depending on where they are intending to play it out) you should still be submitting a 30second audio file for a 30second ad

whereas this:

hold frame for 10 secs.
You may require 7 seconds of clock and 3 seconds of black at the front as well

Would not be submitted as part of the audio delivery for ads. In my experience anyway!

Have had different experiences/requests from different delivery outfits tbh.

We use Honeycomb almost exclusively now - cos they cheap : )

Specs attached for reference though may be moot for Jezston depending where it's being sent.

1 Attachment

• HC_Specs_Presets_Rvs.pdf

I think maybe my perspective is a couple of stages back.. ie. supply audio to the video post house, who would deal with the hold, clock etc when laying our audio back to their finished picture - they then pass it on to people like Honeycomb :)

this 'duration of active essence' (lol) is what I have to worry about

1 Attachment

@CYOA @MCamb

Cheers for the replies, must admit I'm a bit out of my depth here, I do sound for video games so all these spec requirements are totally alien to me. I'm just being asked by the ads department to take over from some outrageously overpriced audio outsourcer they were using before.

I think something seems to be going wrong their end. Here's a brief overview of what I'm doing:

• I get reference video from the ads team
  
• I get reference audio from the previous audio outsourcer
  
• I put them together, line them up, add new stuff related to the new videos
  
• I export the audio as a WAV
  
• I check against the video file, all looks good
  
• The ads team say may audio is late.
  
  

I'm using Nuendo btw, and Premier to test them.

If I compare a video I made, to a video they've made showing me my sound out of sync, it seems the audio in theirs comes in about 5 frames later.

Definitely not a sample rate issue btw, everything is at 48khz.

Also as a related question, the audio from the outsourcer is all hard compressed to living fuck with 3dB headroom (giving me -9dB LUFS). That normal?