Behind The Scenes: The Evolution Of Sound Design In The Top Action Blockbusters – John Deere Evolution is a visual masterpiece that combines concept images of tractors captured in purpose-built studios with behind-the-scenes footage of how these machines were designed and manufactured. This encyclopedic history covers every model series produced by John Deere since 1919. Read more about Sound-Gard’s body upgrades in this book excerpt.
When William Crooks began working as a young industrial designer at the prestigious Henry Dreyfuss Associates (HDA), he was ten years into a promising career and spent his entire career with the firm. One of his major accounts was John Deere, and his first major project was the Sound-Guard body redesign by a team of William F.H. Purcell, Jim Conner, and Chuck Pelley.
Behind The Scenes: The Evolution Of Sound Design In The Top Action Blockbusters
This wooden model was used by HDA in August 1975. Photo courtesy of Henry Dreyfuss Archives, Cooper Hewitt, Smithsonian Design Museum.
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Crooks remembers that the original Sound-Gard design was very challenging, especially designing the entrance to work with the limited space next to the roll-over protection system (ROPS).
Interestingly, he added, the soundproof cabin created many unexpected problems that had to be solved. “The seat suspension and the seats they used on their open station tractors were a very noisy and messy system,” Crooks said. The seat noise was almost unbearable as the cabin drowned out engine noise and other external noises.
In the early days of ROPS, there were very few standards. As a result, it was not convenient to solve the problem of seating.
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“So a very good friend of mine, an accomplished engineer, Terry Woods, attached the seat suspension to the rear cross member of the ROPS. And when they hit the ROPS in the back, the seat suspension went with it, and it passed the ROPS test. The certification body told Deere’s engineers to do this when and if said never, ever, because the whole idea of providing protection was to keep the area clear of any object that could be attacked,” Crooks said.
HDA has spent countless hours developing Deere controls and cab layouts for a variety of body types and sizes. Photo courtesy of Henry Dreyfuss Archives, Cooper Hewitt, Smithsonian Design Museum.
Crooks was tasked with rectifying this situation and developing a new seat suspension system. This simple problem turned out to be a serious engineering problem that really needed to be fixed. The problem was not only the suspension of the seat, but also the placement.
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The seat and cab had to be placed directly over the rear wheel so the operator could lean back and see the ropes and fasteners. Of course, it was very important. . . and Crooks found that this caused considerable trouble. “The cab position was slightly above the center line of the rear axle, and the wheel floats were spring-loaded, making it very difficult to ride.”
Tire fall is transmitted directly to the operator. The need to move the cab forward to fix this was a major engineering change, requiring creative solutions where the operator could see the jammed area.
Another challenge Crooks faced was adjusting seats and controls for a wider range of body sizes.
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“We expanded the guidelines on the amount of carriers so that they were not 90 percent of the population at that time, but 95 percent of the population,” Crooks said.
Henry Dreyfus did a great deal of work on adapting machines to men, a science known as human factors engineering. HDA has worked in this area for the US military, providing extensive drawings and measurements that show the range of dimensions that designers and engineers must consider when building new vehicles.
Pick up a copy of John Deere Evolution and continue reading about Sound-Gard enclosure development. Metadata Recording Audio Device Location Recording Cloud Collaboration Timecode Collaboration Cloud Audio Recording Multimedia Production Remote Production Media Management Film Production Monitoring and Permissions Camera in the Cloud Frame .io Cerodek
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The global pandemic has accelerated the adoption of remote manufacturing and collaboration. Now Frame.io, a leading video control and approval platform, has released the Frame.io Camera to Cloud (C2C) solution, which transforms the traditional linear filmmaking process by enabling on-set and remote post-production teams to collaborate. at that time. Sound Equipment is one of the companies supporting the announcement, allowing audio recorded on set or in the field to be streamed directly to the cloud.
Media production has grown exponentially with the transition to IP infrastructure and adoption of cloud solutions. But until now, this evolution has taken place after the content has been captured, usually post-production, for proofing, validation and distribution. As the pandemic continues to spread across the globe, major film and television studios have been forced to rethink their production methods. The key seemed to be connecting the smallest team directly over the internet to remote production teams with centralized media storage and management in the cloud. The need to transport raw materials from local warehouses created further challenges with the storage and protection requirements of very large files, allowing immediate access for review and approval.
The need to connect remote routing solutions and on-site camera and audio operators with a cloud-based solution was a big challenge, but also an ideal area for innovation for the media management company. After previously introducing Frame.io’s “Camera to Cloud” (C2C) concept, the company launched a revolutionary new workflow that allows photos to be taken directly to the cloud, making files available anywhere in the world the moment the camera stops. In fact, current users with Frame.io paid plans can access Camera to Cloud at no additional cost.
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Frame.io is already a popular video review and approval platform with over 1 million users, and its new secure cloud-based C2C workflow enables media companies to upload and stream images directly from embedded cameras to creative post-production teams anywhere in the world. . Frame.io C2C has three partner integrations, including Teradek, Sound Devices, and Colorfront, and is compatible with more than a dozen professional camera systems, including RED, Arri, and Panavision.
Over the past 100 years, there have been fundamental changes in the film industry. First from film to tape, then from tape to digital file, and now from camera directly to the cloud. There was always a long gap between when a record went from production to post. The film had to be processed or digitized, the tapes copied, the discs copied, and the media transported so interested parties could view the work after it was made. It can happen overnight, or it can take days.
Frame.io C2C bridges the gap between production and publishing. It works by downloading directly through a proxy so that producers, studios, agencies and editors can receive and review camera files within seconds of shooting. Camera to Cloud workflow requires a Frame.io C2C certified device connected to compatible Arri, RED and Panavision cameras. Once verified, certified devices such as Teradek CUBE 655, Sound Devices 888 or Scorpio audio recorders will record, encode, and send H.264 proxy files with the appropriate filename metadata directly to Frame.io over an encrypted, secure connection for use. LTE, 5G or WiFi. It allows real-time delivery of editable proxy files to producers, day-to-day facilities or editors anywhere in the world.
Frame.io And Sound Devices Send Recorded Content Directly To The Cloud
“Our successful beta testing period showed how many industries are willing to embrace this new paradigm,” said Michael Cioni, senior vice president of global innovation. “Over the past eight weeks, we’ve completed intensive C2C testing, and it’s clear that the cloud era of multimedia creation is upon us. In the near future, cloud-based proxies will become standard practice.”
“Camera to Cloud is the first of many innovations we’re working on to connect production and publishing,” added Emery Wells, CEO of Frame.io. “Today, such a change seems bold, but in a few years people will wonder how they could have made video any other way.”
Frame.io C2C is a global industry initiative that defines content protection requirements and best practices, ensuring maximum security by fully complying with TPN and SOC 2 Type 2 standards. Combined with strict access control, Frame.io C2C is a secure way to share media with authorized audiences and contributors. The new Frame.io Cloud Devices API and C2C Certification Program are now available, enabling hardware and software vendors to build C2C-compliant products. Developers interested in building Frame.io C2C-certified software and hardware can learn more at developer.frame.io.
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Currently, for connecting audio directly from the package, Sound Devices offers the industry-leading 888 and Scorpio series sound field mixer recorders, which can record and stream original audio files directly to Frame.io.
Both the Scorpio and the 888 sound devices boot into C2C using the Ethernet port on the back of the unit. Deployment is hidden, so audio professionals can back up their files to the cloud or deliver them to post-production while continuing to record tracks. There was C2C support
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