Timecode Reader anyone?

[Bill Davis]

Not directly “read” it – but you can click on the Project in the Project Library then open the inspector and use the Action Menu – (the wrench icon) to change the starting timecode of your project to match the value of your original.

That should sync your window burn with the original tape.

“Before speaking out ask yourself whether your words are true, whether they are respectful and whether they are needed in our civil discussions.”-Justice O’Connor

[Mark Dobson]

It’s not possible at the moment Bruce.

If you put ‘timecode’ or ‘source timecode’ in the search box in the forum post index you will be able to read my previous attempt to discover an answer to this very specific problem.

I resorted to FCP7!

[Bruce Wittman]

Hey Bill,

Thanks for your suggestion. In my case, I have 139 shots (Sony XDCAM) that need window timecode.

Bruce Wittman
Executive Producer

Eagle Video Productions, Inc.
2201 Woodnell Drive
Raleigh, NC 27603-5240

Website: http://www.eaglevideo.com
Email: bruce@eaglevideo.com

pho: 919-779-7891
cel: 919-818-5556

[Bruce Wittman]

I had to do the same thing. It’s a shame when you have to move backward when moving forward…

Bruce Wittman
Executive Producer

Eagle Video Productions, Inc.
2201 Woodnell Drive
Raleigh, NC 27603-5240

Website: http://www.eaglevideo.com
Email: bruce@eaglevideo.com

pho: 919-779-7891
cel: 919-818-5556

[Leo Hans]

I had a Free Timecode Reader, but sadly It has stopped working since 10.0.4. I don’t know if its a FCPX/Motion bug or a deliberate change in the filter I was using for it, but It doesn’t longer work.

https://finalcutargentina.blogspot.com.ar/2011/07/timecode-reader-gratuito-para-fcpx.html

I have reported the problem to Apple, but It still doesn’t work. Perhaps in 10.0.6? I hope.

Leo Hans
Editor AVID – Final Cut Pro
https://www.leohans.com

[John Moffat]

There is a workaround that might help.

Copy the RAW files that you want to send to you client into a new event. FCPX will then copy those files at the finder level into a new event folder. Use Compressor to add burnt in timecode to your viewers.

[Bruce Wittman]

Hey John,

Not sure what you mean by using Compressor for each of these 139 separate shots with time of day time code. Sony XCAM gives me a BPAV folder, which I un-compress with the Sony XDCAM browser or bring directly into FCPX Event using Archive Camera Footage. Can you explain further?

Bruce Wittman
Executive Producer

Eagle Video Productions, Inc.
2201 Woodnell Drive
Raleigh, NC 27603-5240

Website: http://www.eaglevideo.com
Email: bruce@eaglevideo.com

pho: 919-779-7891
cel: 919-818-5556

[John Moffat]

Hi Bruce,

I’ve not used XDCAM or any files direct from a BPAV folder in FCPX yet so this might not work. Or i’m not understanding what you want. However when you import files into FCPX it will copy (at the finder level) the Quicktime files into “Original Media” folder in the event folder. I would use FCPX to create a new Event and move a copy of the 139 files you need into the new Event. At the Finder level a new Event folder will have been created with a copy of the 139 shots in it. Grab those files and stick them through Compressor selecting add BITC from the options.

You might need to transcode the files to Proxy or ProRes422 first so compressor can read them. I don’t think it can read BPAV folders.

john

[Bill Davis]

[Bruce Wittman] “Hey Bill,

Thanks for your suggestion. In my case, I have 139 shots (Sony XDCAM) that need window timecode.
“

Ok.

I think the central truth is that if you’re planning to use X as an “intermediary” solution and need to read that original timecode in order to coordinated with an outside editor that must reference the original numbers, the “closed” FCP-X system is not going to work well for this.

If you’re just looking to do window burns for use with clients to coordinate a paper edit – then there’s nothing to stop you from dragging all 139 clips onto a timeline and doing a timecode burn out of that.

I do that all the time for clients – and it’s fast and easy.

And you can use the notes to keyword selects from that window burn timeline and use “reveal in event browser” to transfer your ranges back into your Event.

So in that sense, the “original” timecode becomes inconsequential if (and it’s a BIG if) you can remain in X through your entire edit..

But I understand that if you must have references to the camera files because more than one editor with different systems need to use your X selects as a general purpose logging database, it’s not as automatic to get that exported at this stage in the X development cycle.

I’m willing to bet that this will change over time, because at heart it’s a big database, and importing and exporting data is one of the core capabilities of every database.

But for now, you probably need a different tool.

Sorry.

“Before speaking out ask yourself whether your words are true, whether they are respectful and whether they are needed in our civil discussions.”-Justice O’Connor

[Tom Brooks]

To make “window dubs” of raw clips I control click on a clip in the Event Browser and select “New Compound Clip.” Double-click to open the compound just created. Add more of your original clips if desired. Put the Timecode generator on top of the whole thing. Seems to work for me. I just share the compounds with clients and use the original clips for my edits.