[Bouke Vahl]

So you have more than 7 hours of footage.
The rendertime is 4 to 5 times RT, that is not quite strange.
What did you expect?

Bouke

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

[Bouke Vahl]

Where do you get those numbers?
If DVD SP finds the file OK, what is the problem?

Bouke

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

[Bouke Vahl]

Have not tried it, but i suspect if you assign a reelname to both it should work.

hth,

Bouke

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

[Bouke Vahl]

well, there is a nice discussion on field recorders just a few threads below. That should get you started!

Bouke

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

[Bouke Vahl]

Jeremy,
If there is indeed an FPS mismatch, would that not cause dropped or duplicated frames on the Flash stuff?
(let alone mayhem on scaled interlaced shots…)

Bouke

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

[Bouke Vahl]

That works, but do not output a long DNxHD file, just consolidate/transcode the long timeline.
Then export that timeline to a file for the transcription service,
and use that timeline as a source when you start editing the interview.

Reason: I personally like to work ‘reproducable’.
Meaning, keep links to the originals in a way you can reconstruct your work in case your media dies. (Yes, this WILL happen on one occasion!)
Backing up the Avid project and the original H264 is easy, this way you can always step back / redo without a lot of manual work.

For the transcription, i happen to have written transcription software that does just like you need, without the need for a long file.
It has a function to create one long clip from several short clips, while remembering the timecodes / filenames from the originals.
(it makes a long QT ref, and a list with timecodes / reelnames / filenames)
The software can be set up to paste timecode and or filename in a custom format in the transcription document.

That makes for a transcript that matches back to the originals without any effort for the transcriber.

have a look here:
https://www.videotoolshed.com/product/27/transcriber-2-dvd

(but the option mentioned above obviously also works.)

Bouke

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

[Bouke Vahl]

Whatever works for you 🙂
However, taking the signal out the audio recorder is a risk.
There might be a small delay (my software can compensate for that, Avid cannot!).
And, you want a constant flow of sound coming out of the output, not only when it is recording. (Chances are the cam starts recording before the sound does. That’should’ not be a problem, as my software is smart enough to keep searching for valid TC, and calculate back from there, but it takes a bit more time)
And if there is no timecode found at all, you end up with a clip that does not have a ‘logical’ timecode…
I would just split the sound into two lines, one to feed the sound recorder, one to feed the cam.
While you’re at it, you have two channels on the 5D. So it makes sense to put an audio mixdown or your main mic on the second channel of the 5D, just for a backup to sync if things go wrong.

I would concentrate on making really handy cables. That means, the correct lenght (not too short, too much tension on the connectors, not too long, too much cable salad in your bag.)
Pick the right connectors (especially for the mini-jack, as they are vonurable. Pick between straight or 90 degree)
The long cable that goes to the cam should have a connector close to the cam, something like a Mini XLR, so you can quickly connect / disconnect from the cam. Make the short piece equiped with some velcro and elastic to take the tension of the connector.
To really get nerdy, the connector between the long and short cable ideally has the female part on the long cable. (That one tends to fall on the ground, females are stronger than males).
And of course you need some resistance to attenuate the signal to accomodate for the levels on the cam.
You cannot overmodulate timecode (it is already a blockwave), but that does not go for the mixdown of course. And of course you don’t want to blow out the audio part of the cam…
If you do it well, you can put in the resistors inside the (mini) XLR plug. (That is a fun job…)

It is a lot of work (outsource if you’re not good with soldering), but it will pay off in the end.

Bouke

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

[Bouke Vahl]

Do not worry about this.
It means that you cannot expect it to stay in sync with another device for a long time, if you lock that and loose the connection.

But this is NOT what you will be doing!
Both the sound and video will start at about the same time.
(most of the time within 30 seconds, perhaps sometimes with a few minutes difference)

Now the drift in that time (time difference between recording starts) is very little. So it does not really matter if the Iphone tc runs slightly different than the ‘real clock’.
Keep in mind that for TC decoding only the first few frames / samples are used, and the rest is calculated from there.

Just do NOT lock your cam to the Iphone and loose the connection, and expect it to stay in sync for a long time. If you need that, you need to look at the Ambient LanC logger, or the Clockit boxes.

Of course if the cam has no TC input and you need to rely on audio TC on the cam as well it is obvious you need a constant connection.

Toy with it. The FCPauxTC app. has a free demo that will let you test your entire workflow. If you run into trouble, don’t hesitate to contact me direct!

Bouke

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

[Bouke Vahl]

Hmm.
My example did not transfer well (it has a bit of HTML formatting it seems)

I’ve put a small sample here:
https://download.yousendit.com/M3BuK0d1K3g3bUNFQk1UQw

hth,

Bouke

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

[Bouke Vahl]

While i agree with Ty that the SoundDevices is the way to go, there are alternatives.
One of the best sound guys i know around here uses a Tascam DR-680.
(Business for dedicated sound guys is slow around here, so he wasn’t really willing to spend a lot of money, and this thing is just 700 USD)
While it does not have TC, that can be done with sacrificing a channel for LTC.
So, if he is master (normally the case), he uses an iPhone with Jumpstart as a TC generator, feeding the signal to one of his channels on the Tascam, and to the cam (either the TC input if it is there, or an audio channel if there is no tc input on the cam.)
The other way around, if he is slave, he just records the incoming TC to one of his channels.
Of course this means cabling yourself to the cam. If that is a problem, you can always use any transmitter / receiver you have (LTC is a very simple robust sound signal), or invest a bit more in some Ambient stuff.

Next step in post is to decode the LTC and create BWF files for the sound, and do the same for the video if ltc went to a sound channel.
This is a fairly fast process. If you got an avid to finish, it is very easy to do. Otherwise you need this:
https://www.videotoolshed.com/product/26/fcp-auxtc-reader

It will take you a day to create decent cabling and test everything, but that day will save you a couple of grant on investment.
Pick your poison 🙂

Bouke

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