[Bouke Vahl]

eer, my offloader is free for Win, does the trick.
Not so expensive i would think…

Bouke

https://www.videotoolshed.com/
smart tools for video pros

[Bouke Vahl]

Well, Offloader should do the trick.
(It just looks at the MXF files)

Do toy with it, and let me know if it fails (in that case i will fix it…)

Bouke

https://www.videotoolshed.com/
smart tools for video pros

[Bouke Vahl]

Common way of syncing is to use Timecode. Also an audio signal that can travel by wireless or wire.(at a frequency of about 2Khz, very well human audible, and (for me) almost human decodable…
(very well doable in software / hardware of course…)
Pluraleyes works way different. Even if you broadcast a beep every second, it would not know what to do with it as there are too many sync points. (It probably would work if you randomize the broadcast interval)
But as stated by others, it seems a bad idea…
So invest in transmitters to get timecode across, or in Lockit / Clockit or other Ambient design syncing mechanisms. They cost money, but well worth it.

Bouke

https://www.videotoolshed.com/
smart tools for video pros

[Bouke Vahl]

Doh, here we go again…

BWF DOES NOT have a framerate, nor does it have timecode!
BWF contains timestamps, and with that you (or your software) can calculate any TC you want.
TC 00:00:01:00 is described in BWF as 48000 (assuming you recorded 48Khz…)

Now most recorders start on a round number of seconds. (Meaning, a multiple of 48000 samples)
Thus if you don’t slow down / speed up the sound, the outcome of Pal, 24 or NTSC (df) tc is always the same.

Now you can flag the file to be slightly faster / slower than 48000 (typically 48048) to make files compatible between true 24 and video 29.976.
This has nothing to do with the actual speed it was recorded, just 4 bytes are changed describing how many samples per second the file is. By ‘misintepreting’ this number, the sound speeds up / slows down without quality losss (at the cost of a .1 % pitch change)

Now to alter those parameters, indeed Wave Agent is the way to go.
As for syncing in FCP, if the start is good and the file drifts out of sync, you got a wrong setup. FCP interprets the BWF based on the last choosen setup. So pick the correct setup for a new project (you don’t have to actually USE that project), QUIT fcp, open it again and import your BWF.

Bouke

https://www.videotoolshed.com/
smart tools for video pros

[Bouke Vahl]

Subbits can import text from FCP XML, and export to SRT
https://www.videotoolshed.com/?page=products&pID=12
(and a lot of other formats)

But for DCP, i think you need a DCP compatible XML that adds the subs during projection.
SRT smell like someone is going to burn them in using FFmpeg or alike…

Bouke

https://www.videotoolshed.com/
smart tools for video pros

[Bouke Vahl]

To be more (irritating and utterly) correct, an ‘original’ chroma keyers output is exactly this.
The old school boxes only outputted a b/w signal, like your example.
That would be used to feed a switchers key input, so you could choose your fg and background.
In most cases, fg is the same source as the image used to extract the key, but there is total freedom in choice for that.
Even modern switchers allow for any bus to act as key source, and two channels for fill / bg.
The same is true for most software, but you have to force it to output the key signal only. (Mostly used for checking the matte, not so in your case)

Btw, the credit roll on the BBC tv series ‘Bottom’ was done the same way, and of course lots of James Bond movies have the key two different sources with a nice woman in the leader.
(don’t forget the Kiki wipe…)

Bouke

https://www.videotoolshed.com/
smart tools for video pros

[Bouke Vahl]

Sure, you’re right.

I was mixed up with another thread where someone asked about file sizes for AVCHD 100Mbits.

Now that seems a dead givaway for datarate 🙂

Bouke

https://www.videotoolshed.com/
smart tools for video pros

[Bouke Vahl]

ah, now i understand the original question…

Start recapturing when the tape is in the new TC.
But obviously you don’t know what the ‘good’ part is. That is why on ingest the guy doing the offline ‘should’ have made a new reelnumber.

It sucks, and you’re in for a lot of work…

Bouke

https://www.videotoolshed.com/
smart tools for video pros

[Bouke Vahl]

Well, i disagree on both points.
Render time depends on system speed (as not all fx are done by the CPU, GPU also comes into play), and more it depends on the sort of fx used, and of course the amount.
If there are no effects, and the output is same as source, it depends on drive speed rather than CPU/GPU speed.

Now for size calculation. If you output to a fixed datarate codec, why would one need a calculator?
example, DV runs at 25 Mb/sec.
Thus a 10 seconds show will be 250 Mbits. That was fast 🙂

The trouble occurs on rendering to some modern codecs. Sometimes they refuse to use the rate you want them to, so you end up with a file smaller than expected…

Bouke

https://www.videotoolshed.com/
smart tools for video pros

[Bouke Vahl]

Modify timecode in FCP?

Othewise, use QTchange.

Bouke

https://www.videotoolshed.com/
smart tools for video pros