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Timecode resets at 24 hours?
Capturing footage in Premiere Pro 2.0 and our tapes have been sequentially timecoded, ie first tape started at 01:00:00:00, tenth tape at 10:00:00:00, etc. Obviously, at tape 24, the time code is 24 hours and Premiere resets this entered time in the cature window, as 00:00:00:00, I guess because 24 hours = a day.
Anybody seen this before and have a easy fix?
Only idea I have is to dub the tape and change the timecode, but I’m hoping this is just a setting in Premiere that I can alter. It also seems that maybe Premiere will do the same timecode reset on the tape itself, interpretting 24:00:00:00 as 00:00:00:00 on the incoming footage.
Thanks for any help.
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9 Replies
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Let me get this straight. When playing the tape in the capture window PPro sees values greater than 24:00:00:00 but when you mark an in/out it resets it to hour zero? Or is it just seeing everything greater than 24:00:00:00 as being hours zero? In other words, it won’t cue to or capture based on the timecode on the tape.
Dave
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When simply inputting the number manually, not relying on previewing tape in/out, if I enter 24:00:00:00 in “time in” and then hit tab, it changes my 24:00:00:00 to 00:00:00:00.
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But does the actual tape time show up in the capture window when playing the tape?
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Ah, we’ll see. It’s capturing tape 23 now and I made the batch on another station, no access to the tape/camera, just using logs.
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Ok, started capturing and it does indeed see the tape time as 00 hours instead of 24 hours. We’re having issues with the beginning of the tape where 30 seconds of bars and tone start at 23:59:30:00 and roll into 24:00:00:00. When I set time in to 23:59:30:00, time out defaults to the same time. Setting time out to 00:00:01:00 resets the time in back to the same time as the new time out.
It’s a hassle, but we can overcome it by manually capturing the start of the tape. Wish there was a setting I could just alter to allow 99 hours, for instance.
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I think it would be a hassle to edit a 99 hour sequence….
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Time Code
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[Steven L. Gotz] “Therefore, there are 30x60x60x24 or 2,592,000 unique addresses in every 24-hour day”
True, at 30fps. At 29.97 there are 2592 fewer addresses. Then you’ve got PAL to consider and all the interesting frame rates that various HD formats bring to the table. (, he said pedantically.)
There are NLEs that will handle timecode “roll-over” but I guess PPro isn’t one of them. Even if a NLE does handle it, it is probably not good practice.
What really surprises me is that the camera could be set to hour 24 in the first place. Seems like a bug in the camera firmware to me.
Dave
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I don’t think 24:00:00:00 even exists, does it? It is = to 00:00:00:00, the next frame from 23:59:59:30 is 00:00:00:00. So if the camera put down 24+, it’s not timecode, but something else. Something doesn’t sound right. Beside, TC + REEL # gives you never-ending souce code. I had a friend cut a promo from 500 reels. I’ve never used that many in a single probject (thank god)….but that’s how you keep them all straight.
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