PCM error and Timecode 'jumps' at the pick-up point on Record, preventing the ideal of the continuous Master Clip in Transfer. The problem occurs on both my machines, and on those of two colleagues I checked. To confuse the issue more, I have checked two other PD4 and not found the problem. As far as I can make out, it has nothing to do with the age of the machine nor the Software Version and it is not dependent on tape type. Fostex are currently looking into it (I hope) but so far have no answer - they cannot reproduce the fault in Japan! They seem to believe it is something I am doing wrong but how many different ways are there to press the Record button? 

For line-up, I settled for -18dB on the PD4 to correspond to 4 PPM on my mixer (or -8dB Nagra) and this is enough headroom for most occasions. I soon discovered that exactly -18dB line-up was impossible to achieve every time, due to the large steps in the calibration of the Level Meter on the PD4. Using Digital to Digital transfer, actual line-up levels are not so important. However, I was surprised and relieved at the tolerance of the PD4 to overshoots (why do actors always rehearse one way then play it another?) and the sound quality is impeccable, even with the 'OVER' indicator shouting at you! I also discovered that the choice of Sample Rate should be discussed with the Postproduction department since in order to achieve Digital to Digital working, you must conform to their equipment. 

Having sorted out the mechanics, how did it perform? Well, rather well! I worked outdoors in sub-zero temperatures then took the machine inside to a warm, moist room. There was condensation on everything but I didn't touch the PD4 and it performed immediately without any trouble. Maybe I was lucky, but that did raise the confidence stakes. I was soon familiar with all the buttons and knobs, and setting up Timecode and User Bits and the various software configurations. Something that I have noted is that the Timecode Generator in the PD4 is not the most stable. I have detected drift of about 1 frame in 2 hours, unlike the old Nagra 4STC which is better than 1 frame in 10 hours. This is still good enough for most sync sound considerations but it can be a problem if jamming a film camera Timecode Generator thus re-jamming periods should take this drift into account. I prefer to run my Denecke GR1 Master Clock which is better than 1 frame in 8 hours and use this to jam both Camera and PD4 Timecode Generators. 

I will be sad to see the end of my Nagra recorders. They have given me wonderful and reliable service for many years. Unfortunately, Nagra haven't kept up with the demands of an industry where they were once leaders. I still think it is not too late for Nagra to come up with a 'DAT Killer' but it had better be soon! And I don't want to restart the debate on the Nagra D.... How about a really practical, portable non-linear system, built to Nagra standards?

PINEWOOD STUDIOS

TWO NEW STAGES & PRODUCTION FACILITIES

Artist's view of new complex 

The two massive new stages, designated R & 5, and the adjacent Stanley Kubrick Building, providing versatile accommodation on three floors, are just the beginning of an exciting multi-phase expansion planned for the studios. 

At nearly 20,000 square feet each and with a height of 35ft, the R & S stages are amongst the largest purpose-built sound stages in the UK. They are equipped with the most up-to-date technology including secure integral camera and sound rooms and incorporate the latest in sound proofing and flooring.

The prestigious Stanley Kubrick Building, recently dedicated to the memory of the late director, offers luxurious production offices, make-up rooms, wardrobes, dressing rooms, and star suites. Security is enhanced with swipe card access to all rooms, replacing the use of the traditional key. Finally, fibre optic cabling with ISDN facilities provide state-of-the-art telephony and computer networking throughout the complex.

Mrs Christiane Kubrick and Pinewood's MD Steve Jaggs at the dedication ceremony