-
EOS 5D Mark II/ LTC /Pluraleyes/ 744T sync Question.. Just for REAL FCP sync up freaks?
Hi there!
I`m just a simple soundrecordist-dude from Amsterdam with a question. Sorry for any inevitable language errors in the
following writing:I was called -last-minute- to record the sound for this documentary about a young, promising football ( soccer?) player.
The idea ; try to capure the atmosphere of a soccer tournament with 3 cameras and one sound-dude..
There was no time to run any tests or hire extra equipment..
The (last minute) plan; two cameras(2x EOS 5D Mark II) with long lenses, running @ 25 and 50 FPS, capturing actions of our lead-player. A third camera(canon-xl-h1) capturing the coach, audience and whatever.
Soundwise; radiomic`s on coach and footballplayer, boom for general noise from the field or spectators. Total of 3 tracks recorded on a 744T harddisk recorder@24 bit/25 fps. Clockkit on the Canon-XL-H1, locked to the 744T and feed wireless audio to both EOS` to sync things up later with Pluraleyes. Maybe some troubles with the 50 FPS part but -potential- workable.
5 minutes before shooting the main cameraoperator informed me that his Canon-XL-H1 could only be operated in `record run`. He was using somekind of external tool to capture HD images, and this gatget was exclusively triggered by `record run` timecode. Bye Bye sync.
So 4 minutes left for plan B;
Mij plan B was; feeding hard-wired audio to the Canon-XL-H1 and wireless audio to the two EOS machines, creating proper, similar audio and sort things out with Plural..
But cameraoperator B came with plan C; in his opinion the best option was to feed timecode-in-audio(LTC)to the audio-input of his EOS@25FPS for best sync options. I was not sure about that and there was an argumentation.
But there was only 3 minutes left and I had to go back to my car to get some `hard wires` for the Canon-XL-H1.
When I came back , operator B was on the other side of the field with my Lockkit , running LTC on his audio, leaving me ‘hard wired’ to the main camera…
So this sad story ends up in plan B/C a lot of data in audio&video..
; 3 tracks of audio with timecode, Canon-XL-H1 content with 2 proper audio tracks but no timecode in relation to the audio recorder, 1 EOS 5D Mark II running@25FPS with 25FPS LTC in audio, corresponding to the audio and a 2nd EOS with audio but running@50FPS so living it`s own life..Anyone??
Again; I`m just a sound-guy trying to make it a better place, for you and for me and the entire human race… but ALSO for editors!
Greetz
Bas Lookman
-
7 Replies
-
So, why are the director and editor leaving this complete mess to you to solve?
From what you’ve said, i don’t think there’s a magic bullet that’s going make this series of problems go away. It’s just going to take lots of time and hard work to fix.
David Roth Weiss
Director/Editor/Colorist
David Weiss Productions, Inc.
Los AngelesPOST-PRODUCTION WITHOUT THE USUAL INSANITY ™
EPK Colorist – UP IN THE AIR – nominated for six academy awards
A forum host of Creative COW’s Apple Final Cut Pro, Business & Marketing, Indie Film & Documentary, and Film History & Appreciations forums.
-
Plural Eyes the XL-H1 and 50p DSLR and use AuxTC https://www.videotoolshed.com/product/26/fcp-auxtc-reader to sync the 25p DSLR’s TC to the 744’s. Once everything is synced, auxtc may be able to assign all the recordings the 744’s TC.
The 5D does 50p?… or was it a 7D? At 50p it may be destined for a 25p conform for slomo… in which case no audio sync possible.
John Heagy
-
Since i’m probably the biggest TC / sync geek around here…
5D is indeed 25 only.
However, my FCPauxTC reader does not care about the actual framerate.
It will happily paste in a 29.97 TC track in a 50 fps movie, and FCP will happily display / sync on it.
So that’s not the issue.If there is indeed LTC, it can be fixed with my FCPauxTC reader.
If for some reason there is an offset (cam ran at free run with no reference), i have a tool that can batch shift all tc’s, so you only have to find one common sync point.
That however is not on my site, but available if you contact me direct.
(and i do speak dutch…)Bouke
https://www.videotoolshed.com/
smart tools for video pros -
Hello there / goedenavond !
You guys were right; it were 7D’s!
Plural managed to sync clips from the main camera, which was restricted to ‘rec-run’, to the 744T’s audio. The FCPauxTC reader did his job on the LTC material ; creating workable clips with timecode!
So happy campers at the sync-side again!
The editor on this job is not that experienced yet, so any help was welcome..even from a sounddude.
For me, personal, an interesting case since my next job will be recording a new tv series ,probably shot with the EOS. In the coming post-production meeting we’ll decide on a convenient workflow; FCP or AVID, LTC or Plural?..
For certain we’ll first run some tests..
Thanks for the feedback all you post-geeks!
Decisions have to be made about a editing platform will be; AVID or FCP and things to decide in the
-
Bas,
Mocht het moeilijk worden, ik ben te huren als free-lance consultant.
mijn nummer: 024 -3553311
Groet,Bouke
https://www.videotoolshed.com/
smart tools for video pros -
For this next series you are going to work on. Couldn’t you take LTC run it through a Beach Tek box to feed the 5D/7D the LTC signal. Then in post use the AUX Reader to end up with clips with the correct timecode.
Also, I believe if you log and transfer using Canons EOS utility within FCP, your clips after import will have TOD code.
-
Hee Bouke!
Heb zometeen die post-meeting. Ik zal dan ook onze editor ontmoeten. Ik ga ervan uit dat ie z’n huiswerk gedaan heeft. Zal je aanbod als consultant in ieder geval in de groep gooien!
Groet,
Bas.
Reply to this Discussion! Login or Sign Up