Issue link: https://digital.copcomm.com/i/714540
21 to lay out your sound report to suit your preferences. You can change and move around your header info, not unlike doing a spread sheet. It lays out your scene, take, file name and tracks in a standard sound report format. I have been debating about using the sound report from the X3 only but for now, I will snap a report as a backup in each recorded folder as I still con- tinue to use Movie Slate." One of the criticisms of the early Cantar-X1 and two buyers in North America was its Euro-centric func- tionality. The design of the Cantar-X3 seems to certainly address this mar- ket and goes beyond. Lee Orloff CAS explains, "Coming to the end of long stretch as a Nagra D user, it was apparent that the writing was on the wall, the days of linear recording in our industry, digital or analog, were numbered. I, like many, were intrigued by Aaton's new Cantar design. It moved on and off the cart seamlessly, felt good in the hands with its hybrid retro layout and was very easy on the ears. Early adopters I imagine, started using it for similar reasons. But it never captured a wide audience here in the States. Was it just a bit too French? There were issues that didn't fit our production workflow, not the least of which was the lack of real- time mirroring, that in the days of slow DVD dailies delivery brought about real challenges for the produc- tion mixer. Its native monophonic file format created another one. The beauty of the evolution of the record- er in its current incarnation, is that Aaton has addressed the early design challenges of the first and second- generation machines, keeping the qualities which made it so attrac- tive, while adding current and future leaning functionality in a package with far more intuitive user interface than ever before." I marvel at the design team's logic in being able to put so much and more in one highly technical recorder in Aaton's Cantar-X3.