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Dealing with Reality Show timecode breaks…
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In my experience FCP is more accurate at detection TC breaks during capture but WAY slower to pickup when using RS422. For some reason FCP seems to keep inching back frame by frame even though it’s obviously already passed the TC break.
Strangely with my cheapo Panasonic DV camera over FW it restarts capturing quicker than with a DVW500.
Unfortunately there is no shortcut Robby. Just walk away and leave FCP to do it’s stuff!
Martin
Digital Heaven, London UK
Unique plug-ins and tools for Apple Pro Apps
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Avid2FCP
For Avid editors learning FCP -
[Martin Baker] “Unfortunately there is no shortcut Robby. Just walk away and leave FCP to do it’s stuff!”
Of course there is a way. My AUX tc reader…
Downside, you need to sacrificy an audio channel.Load an entire tape and put the LTC out into one of your sound channels. Next, let my app. do its magic.
You’ll loose original TC for batch redigging, as it is of course not captured in “dig over tc breaks” (i could make a special version to get that back based on the AUX tc, but that’s probably not needed)Next, you’ll have to set FCP to work with AUX TC, but that’s a one time mouseclick in the TC window…
Download from
https://www.videotoolshed.com/?page=products&pID=26hth
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I have worked on many similar shows where time of day timecode was deemed critical. I had to deal with all the things posted here every time. There never seemed to be one simple solution, other than talking everyone into rec run timecode. Then good logging becomes more important. Seeing that I was going to digitize everything myself, (because I don’t have the luxury of assistants) I knew that the logging of the tapes would be great. Whatever producer I was working with, never gave me timecode anyway. Why waste all this time trying to capture over timecode breaks when the majority of Producers don’t come in with a shot list with code anyway. Well, at least no list’s since non-linear took over.
Just my experience, sorry I’m not much help.Steve Radley
Digitec
Orlando, FL
https://www.digitecinteractive.com -
I always thought this was possible, but had no idea someone implemented it.
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Just to reiterate the OPs situation, time-of-day TC can be critical for reality shows because story people are using time of day to make notes while shooting is going on.
-A
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I completely understand the use and importance of time of day TC. But as an editor, I am going to go through every shot on every tape anyway. Once I am familiar with the footage, I could find the shot or event the Producer was referencing maybe seconds slower without timecode than with. This to me, outweighs the time wasted waiting to digitize over breaks.
Steve Radley
Digitec
Orlando, FL
https://www.digitecinteractive.com -
Steve,
Your logic breaks down when you’re talking about dozens of editors working with thousands of hours of footage. (It happens!)
Mark
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What do you mean by “You’ll loose original TC for batch redigging, as it is of course not captured in “dig over tc breaks”
From what you’ve described, the Aux TC is the tape TC, or am I misunderstanding?
Martin
Digital Heaven, London UK
Unique plug-ins and tools for Apple Pro Apps
———-
Avid2FCP
For Avid editors learning FCP -
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[Steve Radley] ” completely understand the use and importance of time of day TC. But as an editor, I am going to go through every shot on every tape anyway. Once I am familiar with the footage, I could find the shot or event the Producer was referencing maybe seconds slower without timecode than with. This to me, outweighs the time wasted waiting to digitize over breaks. Steve Radley
Digitec
Orlando, FL
https://www.digitecinteractive.com
“But not all workflow’s allow the editor to become familiar with the footage. The reality shows I’ve worked on do not allow for this. Not by a long shot. I AE’d on a reality show that produced about 2500hrs of footage over a 10 day shoot and all shows had to be delivered about 16 weeks after shooting wrapped. In my reality tv experience the editors don’t (or shouldn’t) have to sift thru footage themselves. The story producers provide the tape #’s and TCs to the editors (ideally the story producers would work w/the AE’s who would then create a string out for the editors but that’s not always possible) and if the editors needs more coverage or something they ask for it and some else hunts it done. The editor just edits.
-A
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