Syncheck discontinued (!)

[Frank Kruse]

Originally Posted by JC101

Yes, you could use any suitable Flash Pop file, I am sure the Syncheck files would work OK. Detection is based on a black to white transition with a 1Hz - 3Hz tone being the ideal. Previously, for post production, people already have had suitable test files to hand. I generated a 1080p/24 file for use elsewhere, which is on the website.

Test files specifically for post production are not currently in the pipeline but if there is a demand I could look at getting the appropriate toolsets to generate them for the most common formats, or look to get some generated. What formats would you like to see?

Hi,

every codec (incl. fps, resolution variants) cause different offsets so you'll need to generate a lot of them to cover common formats. The ones offered from Syncheck included literally well over 100 different variants incl. real DCPs to check movie theatres.

It's really too many to list.

[JC101]

Originally Posted by Frank Kruse

Hi,

every codec (incl. fps, resolution variants) cause different offsets so you'll need to generate a lot of them to cover common formats. The ones offered from Syncheck included literally well over 100 different variants incl. real DCPs to check movie theatres.

It's really too many to list.

As I suspected really, the numbers of combinations is huge.
I doubt I could generate, or have generated, all the required files to cover everyones requirements.
However I am perfectly happy to collate and host, via the Sync-One2 website, suitable test files anyone would like to make available.

[Postman]

Files with a Syncheck logo must not be hosted anywhere else. I am not saying that's what you just suggested, I only want to clarify.

Richard Fairbanks

[JC101]

Originally Posted by Postman

Files with a Syncheck logo must not be hosted anywhere else. I am not saying that's what you just suggested, I only want to clarify.

Richard Fairbanks

Correct, not at all what I'm suggesting.

To be totally clear, only files where the owner is willing for them to be in the public domain would be suitable.

Should people have their own files to which they could add their own details/website discreetly so as not to impact the readings then I'd be happy to host them, naturally one file per format would be all that is needed.

[paulo m]

Originally Posted by Frank Kruse

Hi,

every codec (incl. fps, resolution variants) cause different offsets so you'll need to generate a lot of them to cover common formats. The ones offered from Syncheck included literally well over 100 different variants incl. real DCPs to check movie theatres.

It's really too many to list.

Hi,

been following this topic with interest as I´m a Syncheck 2 owner that was about to buy a Syncheck 3 just for the added convenience of the LCD screen readings as I find the LED´s on the model 2 a bit cumbersome.

I was happy to find that someone else decided to manufacture a similar device.
This type of devices are very important taking into consideration not only audio post work but also video editing as most video editing suites monitor audio via a separate audio chain as well and most got rid of tube grade one monitors.
I know of a TV station who needed to get lots of Kramer delay units to compensate for the lag of LCD screens as the news editors couldn´t cope with the lag introduced, when synching dialogue. This is OK for video edit suites, but in a post audio studio, people don´t want to introduce this type of devices in the audio monitoring chain. And of course you need to measure the lag first. Being able to do it on the software side is a bonus, although PT is not the best in doing it, but it works until the codec used and the implementation of the video engine starts to play a part. Let alone if the machine is fed or by video ref, black burst etc. There are many variations to consider that may cause drift or false readings, certainly codecs play a big part, not only the display or projector alone. This is true for all DAWS I think.

Having said that, I understand that is dificult and costly for a new player like Sync One 2 to have the same number of test files as Syncheck got over many years.
One suggestion is to have a small bunch of the most used codecs nowadays at the most used frame rates for a start and keep adding if business and demand justifies it. I don´t think that everybody is taking measurements everytime a client sends a video file that uses a diferent codec than the prefered one in a certain facility. Usually what people do is to convert the file first to the codec that their DAW works best with. And of course, the majority don´t even know what the lag on their displays is and keep adjusting by eye.

Another suggestion would be to supply a media kit with the flashes and peeps and let people edit and encode as they wish. Most people that work in audio post have friends or colleagues in video editing, so that would be easy to acomplish I guess.

I think this is a valid product and really would like it to succeed, so some sense is needed here and not starting to ask the impossible here.

Files with a Syncheck logo must not be hosted anywhere else. I am not saying that's what you just suggested, I only want to clarify.

Richard Fairbanks

Of course everybody has the right to change paths and manufacturers are no exception. Products keep being discontinued everyday and new ones being launched. That´s normal. And hard work needs to be preserved from abuse as well. Wish Richard all the best in the new projects.

But wouldn´t it be possible for a fee, that every Sync One 2 registered user could download a specific set of files from the Syncheck website or other, provided they are appropriate to use with this new device?
That could mean additional revenue from the files after the Syncheck period of life and provide users of Sync One 2 with more options for an initial period of time. This is not a mass product, people using it have very specific needs and work in a niche market.

What stops a Syncheck user from buying a Sync One 2 and use the Syncheck files? Or to make a copy of a specific file for a colleague that bought a Sync One 2?
I mean, with all due respect for everybody´s work, sometimes it´s easier to facilitate and profit than forbid and get robbed. My two cents...

[Frank Kruse]

All you have to do is to generate a couple of master QTs with high resolution and then dump them into compressor and batch-convert them to all other variants.

so one full 1080P at 24, 25, 23.98, 29.97

then batch-convert those to all the different resolutions and codecs needed. (not cross-convert FPS rates of course!! only resolution and and codec).

Shouldn't take more than a couple of hours creating the masters and then down-convert them.

There's no 'magic' about them just make sure the whites and beeps are 100% accurately aligned.

But obviously a sync-check device without the reference movies that can be trusted is an incomplete product.

frank.

[Craig F]

if making your own, I would put a Title card at the head of each file listing the details of the file (frame rate, rez, codec, any special notes like a 5.1 audio file w/ 5 beeps per channel and the rotation order)

[JC101]

Originally Posted by Craig F

if making your own, I would put a Title card at the head of each file listing the details of the file (frame rate, rez, codec, any special notes like a 5.1 audio file w/ 5 beeps per channel and the rotation order)

I like the idea of a title page, thanks, so will take that onboard.

I have been doing some digging and I can create files in FCP and process them through Apple Compressor to generate a QT file using a variety of CODECs, including AVID DNxHD.

So the question is, would a set of files at 1080p / 24, 25, 23.98, and 29.97 with the DNxHD codec be the best place to start?
Are .MOV files OK?
Following DNxHD what would be next on the list (there are 70 available within Apple Compressor)?
Is multichannel (5.1) needed from the start, or is stereo/mono OK?

Happy to generate what is required, I just need to know what is the most useful to the post production community?

[Craig F]

my 5.1 example is an extreme example one might use for checking delays in a theater or dubstage

I would start with what sizes and codecs you use and/or get the most

[paulo m]

So the question is, would a set of files at 1080p / 24, 25, 23.98, and 29.97 with the DNxHD codec be the best place to start?
Are .MOV files OK?
Following DNxHD what would be next on the list (there are 70 available within Apple Compressor)?
Is multichannel (5.1) needed from the start, or is stereo/mono OK?

.MOV container files certainly welcome, encoded with common codecs used by audio post and that most DAWS can read, like h264/MPEG 4 and Apple ProRes.
DNxHD is fine too, but remember that not everybody uses AVID PTools, so covering other DAW users (either MAC or PC) with more common codecs like the ones mentioned would be desirable.

Like Frank said, it´s easy to convert for resolution and codec format from a master file encoded with the main used frame rates.

Does anybody feel that an .mxf would also be a (later) good addition as a container?