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Dealing with Reality Show timecode breaks…
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In that workflow on jobs that big, it makes perfect sense to find the best way to digitize across timecode breaks and hold the time of day code.
Steve Radley
Digitec
Orlando, FL
https://www.digitecinteractive.com -
So my question is how will the AJA IO HD work with the timecode input? Will it be any better?
-Russ
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Well 1 second after a TC break doesn’t sound so bad to me (which is what Avid does). A shame FCP does give this as an option. It can make life much easier.
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If the reality show has MULTIPLE cameras shooting TOD then the original timecode is CRUCIAL in setting up multiclips for editing.
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[red ochre] “Well 1 second after a TC break doesn’t sound so bad to me (which is what Avid does). A shame FCP does give this as an option. It can make life much easier.”
Actually, you lose a lot more than 1 second in some cases. I’ve had it miss whole takes. Depends on the deck, preroll time, etc.
I’ve done this with FCP for about 100 hrs of TOD footage and it did it without a hitch, grabbing every frame.
What’s the problem? The extra time it takes? I’d say this is something to plan from the beginning.
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What I do, if you really want to speed things up, is sit there and watch it and hit escape when you’ve grabbed some good stuff, then shuttle ahead and continue. Once you get into the camera-person’s groove, you can guess exactly what they’re going to do and if you miss anything, just roll back, grab it, hit escape and move on. No cueing by FCP involved.
And you get to watch every minute of your stuff!
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I doubt it. It’s NOT the AJA that controls the deck, it’s the software in FCP that dictates that.
AJA is more about codecs and inputs that deck control. So…. you’re still facing the same problem. Sorry.
mark
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[Martin Baker] “From what you’ve described, the Aux TC is the tape TC, or am I misunderstanding?”
No, you’ve understood perfectly (the first part of it:-)
What my application does is reading the TC out of one of the sound channels and insert an AUX TC track in the QT. So in this case, AUX TC is indeed the same as tape TC. BUT, it is a different track. (The QT TC tracks also contains the reel names and identify themselves as being ‘normal’ or ‘aux’)
Now as you probably know FCP cannot have TC breaks in one clip, so my app hunts down the TC breaks and splits the original QT into smaller clips (either self contained or by ref)
The ‘normal’ TC track stays intact. So you end up with both normal and AUX TC.
It was designed for shoots where the tape TC is rec run and a free run TC signal is recorded as normal audio (like happens a lot on multicam shoots where there is one TC signal broadcasted to all the cams, or where a decent BWF recorder sends its TC to a prosumer cam).
In this case the cam has recorded free run TC, thus when capturing an entire tape the ‘normal’ TC track is unusable.
The whole idea is to capture fast but be able to track down the source TC. This is possible using my app, but as it just copies the ‘normal’ TC track it won’t work on recapturing.
(But i don’t see that as a problem, when you work fast you probably never redig…)Makes more sense now?
Bouke
http://www.videoToolShed.com
smart tools for video pro’s -
Now everyone has valid points but no one is getting pragmatic here.
Yes, you need accurate TC, but yes, you do want to ingest as fast as possible.
So, shoot REC RUN and tape AUX TC on one of the audio channels.
For multicam, shoot rec run and broadcast a TC signal to all the cams as AUX and use that (as no matter what you tell the shooters, they WILL turn off their cameras every now and then…)
So you won’t loose the first few secs on preroll, your capturing is way quicker and you still have access to the time events have happened.
Bouke
http://www.videoToolShed.com
smart tools for video pro’s -
I wonder if you could put FCP in an external timecode mode like you can a deck. Then have FCP split the file up when it’s done.
Just a wish. I’ll go ask the AJA guys.
-Russ
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