[Bouke Vahl]

AFAIK, the Tascam does not have TC out, only In.
So you need to have another master.
That may be the Camera, but chances are that it does not broadcast running TC if it is not running…
(it then might broadcast the last frame over and over again..)

This will get you in trouble if you start recording before the cam does.
(and of course that will happen…)

So, if you can, use a Lockit or LanClogger (the same but without genlock).
One should be enough if the cam shoots TOD / free run.
(let the cam run, slave the lockit, connect the lockit to the Tascam)
But two will be safer. (I don’t trust the accuracy of the Red’s TC gen, since it is a computer….)

Bouke

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

[Bouke Vahl]

time for a bit of education:
The time data for the video is in the THM files.
However, the Canon plugin rounds it to whole seconds. (and that is wrong…)
My QTchange application reads it more accurate (see my site)

to get common timecode, you can use a TC generator. Can be an Iphone / droid app nowadays.
(it does not have to be accurate, as long as both the Zoom and the Cam get the same signal.

Using FCPauxTC reader and the helper applications you can sync them.
(See FCPauxTC reader on my site.)

For the Wave files the Zoom writes, they are actual BWF files.
(the extension for BWF is .wav. BWF is the same as wav, but with a bit of extra metadata)

I’m still curious about the BWF. If there is indeed a timestamp other than 00:00:00:00, you should only have to sync one clip to get all done.
If you can mail me a few files, that would be great. (bouke at videotoolshed dot com)

Bouke

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

[Bouke Vahl]

Rounddtrip trough XML and relink from the imported XML retains markers.

But then you can also link the low rez media to the high res media, and you still keep your markers…

Even no need for TC if the files have identcial start times.
(better no TC than a wrong TC)

If the start times between offline and online are different, do set correct TC before relinking.

(FCP thinks in offset frames from clip start most of the time…)

Bouke

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

[Bouke Vahl]

Give the sources a Reelname and you can relink.
(make sure you do it for each source if you have overlapping TC’s)

Bouke

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

[Bouke Vahl]

I’ll answer that.
No, Job does not do FCP.
But you can matchback offline media to any online media using this:

https://www.videotoolshed.com/product/41/fcpreconnect

hth,
Bouke

Bouke

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

[Bouke Vahl]

Does the Zoom use any form of timestamp in the BWF’s nowadays?
I’ve seen a few testclips that all had 00:00:00:00 as timestamp, but recently had a few with a more meaningfull one.

If there is indeed ‘ some ‘ form of timestamping that is related to TOD, i can make something that does the recalculation for you.
(Meaning, you just have to sync one, and the rest will be changed accordingly)

But of course this only goes if the Zoom writes a (fairly accurate) timestamp.
(If it is computer style clock, it will be rounded to whole seconds, and that of course sucks…)

To do it the ‘ pro ‘ way, get a master TC generator and use that to send out LTC to both the cam and the (noisy) M channel of the Zoom, and use FCPauxTC reader to match the files.
I’m currently working on the helper apps to get it to work better with the Zoom (have it working here, just not released yet).
So if you need it, drop me a line (my email is on my site…)

Bouke

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

[Bouke Vahl]

Afaik, exporting to images has nothing to do with framerate. You just get an image for each frame.
Only thing that can matter is DPX timecode. But the playback speed is up to the playback device.
(when image sequences where invented there was no machine fast enough to actually play them back…)

So pick 24, you’ll be fine. Stay in 23.976 on import, or you’ll loose sync with your sound.
If you have to go to 24 for film out, make that your very last step.

Bouke

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

[Bouke Vahl]

Not familliar with the metadata, but since you can set the captured QT’s TC to whatever you want, it should be very well possible.
(park on the first cut, that should be a known tc. Then, modify timecode, enter the TC and make sure it is set for ‘ current frame’
Of course if the other machine spits out 422 you can use that. If it spits out LTC, you can use that as well.
(in hardware or software, depending what you have)

Now this leaves you with a clip identical as it would be captured from tape, i assume you know the rest of the workflow.

Or am i missing the point here?

Bouke

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

[Bouke Vahl]

This makes sense.
If the clip is razored, but the clips are still next to each other, it is called a ‘match frame’.
(Meaning, there really is no edit as it is invisible.)
So, Avid will export all the clips as just one event.
(Open up the EDL in a text editor, you’ll see)

The avid side needs to change a few things: duplicate the clip, give it another reelname and edit alternate clips, or cut in black (one frame is enough) between all clips, then export to EDL.

Or, you can just capture the entire clip and razor yourself. Depending on the amount of clips you might want to use this:

https://www.videotoolshed.com/product/13/recut

(and if the Avid side has used this, they can provide you with a correct EDL)

Bouke

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

[Bouke Vahl]

Afaik, FCP is Unicode aware.
(At least it works fine with Subbits over XML to a text generator)

Are you sure you have the correct font for the language?

Bouke

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