1. Higher resolution than R-DAT, the most
widespread digital recording format; standard: 48 kHz/24 bit (possible to
increase up to 96 kHz).
2.
Eight recording tracks instead of the standard two. This makes it
possible to record individual microphones and lavalier mics into separate tracks
without mutual interference (phase interference, damage of all lav mic
recordings by a single defective signal, etc.). Also, CANTAR works in a 6+2
regime as a standard, i.e. it records the sound from various inputs discretely
into 6 tracks, while simultaneously mixing it into the two remaining tracks in
real time. It is this 2-channel mix that goes to the post production (dailies,
editing) – as is tha case with Nagra or DAT stereo outputs. However, the sound post production
also has the original multi-track recording at its disposal.
3.
Non-linear recording prevents the possibility of erasing previously
recorded material. Therefore, we can prevent situations that every production
mixer has certainly experienced: when checking the previous takes, he is
interrupted by the director’s instruction to start sound recording and he has to
keep the whole crew waiting until the tape rewinds to the end (optimistic
scenario) or erases a part of the previous recording (worst case scenario).
CANTAR allows him to listen to a 2-day old recording and immediately, within a
second, start a new recording.
4.
An instant buffer of as much as 35 seconds makes it possible to record
sound prior to the start of the recording. In standby mode Cantar constantly
“reads” the incoming sound without saving it on the hard disk. Once recording
starts, it will also save the sound (in the length of the constant pre-selected
time interval) preceding the start of the recording. Minutes of material wasted
during the waiting for the actual start of the recording or missing initial
parts of the dialogue are thus avoided. And mainly, we are not wasting a lot of
footage in vain when recording sounds or atmospheres. With CANTAR, you can wait
for the sound itself and only then start recording. You will not miss any unique
sound, while saving material at the same time.
5.
You save time (and money) on transfers. While sound from tape
media is transferred into AVID or telecine in real time, CANTAR sound is
recorded as data files, i.e. several times faster. To transfer a 1-hour
recording will not take more than a minute or two.
6. Sound files in BWF format preserve the information about the time code and in
metadata, also about the day and time of the recording, but above all, about
shot and take numbers. In both AVID and telecine (InDaw), the files will
automatically display under these take numbers. This obviously simplifies and
speeds up the post production work with the material and also helps to maintain
order in the sound material.
7.
Using the hard disk means saving material. Tape media are expensive, but
using the hard disk doesn’t cost you anything. At the end of the shooting day,
you can take away the final recording either on your own hard disk or burnt on
CD-Rs or DVDs, the price of which is several times lower when compared to tape
media. A DVD burner is a standard part of CANTAR equipment.
8. When handling transferred records, you are no longer dealing with a single,
original recording. It is a fully-fledged copy, so you are preventing the
risk of loss, tape rupture, erasure, etc.
9.
A sophisticated listening matrix operates 3 different analogue outputs
(headphones, line-out, foldback). This makes it possible to send to the video
and to the foldback a different sound than the one to which the production mixer
is listening. For example, he can listen to the recording from the main
microphone, while the director has only the discrete dialogue from lavalier mics
in the foldback and the video receives the final mix.
10. CANTAR has extremely low electricity consumption. One set of two
batteries will last 10-15 hours (!) without the need to recharge them. Also, it
can work using just one battery, while the other one can be meanwhile recharged,
which allows you to work practically non-stop, without interrupting the
recording. You will never have to hear “Stop, sound exchanging batteries” again.
2.
Eight recording tracks instead of the standard two. This makes it
possible to record individual microphones and lavalier mics into separate tracks
without mutual interference (phase interference, damage of all lav mic
recordings by a single defective signal, etc.). Also, CANTAR works in a 6+2
regime as a standard, i.e. it records the sound from various inputs discretely
into 6 tracks, while simultaneously mixing it into the two remaining tracks in
real time. It is this 2-channel mix that goes to the post production (dailies,
editing) – as is tha case with Nagra or DAT stereo outputs. However, the sound post production
also has the original multi-track recording at its disposal.
3.
Non-linear recording prevents the possibility of erasing previously
recorded material. Therefore, we can prevent situations that every production
mixer has certainly experienced: when checking the previous takes, he is
interrupted by the director’s instruction to start sound recording and he has to
keep the whole crew waiting until the tape rewinds to the end (optimistic
scenario) or erases a part of the previous recording (worst case scenario).
CANTAR allows him to listen to a 2-day old recording and immediately, within a
second, start a new recording.
4.
An instant buffer of as much as 35 seconds makes it possible to record
sound prior to the start of the recording. In standby mode Cantar constantly
“reads” the incoming sound without saving it on the hard disk. Once recording
starts, it will also save the sound (in the length of the constant pre-selected
time interval) preceding the start of the recording. Minutes of material wasted
during the waiting for the actual start of the recording or missing initial
parts of the dialogue are thus avoided. And mainly, we are not wasting a lot of
footage in vain when recording sounds or atmospheres. With CANTAR, you can wait
for the sound itself and only then start recording. You will not miss any unique
sound, while saving material at the same time.
5.
You save time (and money) on transfers. While sound from tape
media is transferred into AVID or telecine in real time, CANTAR sound is
recorded as data files, i.e. several times faster. To transfer a 1-hour
recording will not take more than a minute or two.
7.
Using the hard disk means saving material. Tape media are expensive, but
using the hard disk doesn’t cost you anything. At the end of the shooting day,
you can take away the final recording either on your own hard disk or burnt on
CD-Rs or DVDs, the price of which is several times lower when compared to tape
media. A DVD burner is a standard part of CANTAR equipment.
9.
A sophisticated listening matrix operates 3 different analogue outputs
(headphones, line-out, foldback). This makes it possible to send to the video
and to the foldback a different sound than the one to which the production mixer
is listening. For example, he can listen to the recording from the main
microphone, while the director has only the discrete dialogue from lavalier mics
in the foldback and the video receives the final mix.
