[Paul Isaacs]

The 788T currently has no TC offset feature.
Its something to consider I guess, but its a shame that camera manufacturers cant fix their own problems!

If we did something like this, wouldn’t it make more sense to put a -ve TC offset in the PIX since that’s where the delay manifests itself???

Paul

Technical Development Manager
Sound Devices, LLC

[Paul Isaacs]

Seems like Multiclip Offsetter is not compatible with Quicktime files that include audio tracks as well as a video track
If you set the Pix240 to not record audio (by turning audio input off), then MultiClip Offsetter will read the files fine.

Paul

[Paul Isaacs]

Yep – no problem importing and playing back 1080p23.98 ProRes422 files in FCP7.

Paul

[Paul Isaacs]

Hi Olivier,

Have you tried using Multiclip Offsetter from:-
https://davidheidelberger.com/software.php

This takes a group of Quicktime movies, looks at the timecode track, and duplicates it into a new Final Cut Pro readable AuxTC1 track based but offset by a user-supplied number of frames.

Seems to work. This is probably the easiest way to correct the offset created by the camera.
The ideal solution would be for Sony to get rid of the delay on their F3 SDI outputs. That, I guess is unlikely to happen anytime soon. In the meantime, Multiclip Offsetter seems to work.

best

Paul

[Paul Isaacs]

Hi Olivier,

Yes, Michael is correct. The F3 HD-SDI video output is delayed. You can compensate for this either in the PIX or 788T depending on which one you’re using to record audio. Both PIX and 788T have audio input delay settings. Try setting for approx 2 frames (approx 66ms for 30fps).

Also, for better sync, consider using the PIX as master for both genlock and timecode (PIX has a built-in Ambient Lockit TC and sync generator).
Decide which PIX you want to be master then jam the other PIX and 788T to this. Since the PIXs and the 788T have ultra low drift and finely calibrated clocks, they will run very tightly in sync all day.

Then hook up each PIX’s timecode output and sync output to each F3. Set each camera to sync to its genlock input and ext TC input. Set the PIX’s sync (genlock) out to the required tri-level sync signal type to match the camera’s frame size and frame rate. Now both F3’s will be tightly synced to each other because they are being clocked by the ultra-stable, calibrated PIXs that are attached to them.

This setup should produce excellent sync results with zero TC offset and ultra low drift. You shouldn’t even have to re-jam during the day.

Paul Isaacs
Technical Development Manager
Sound Devices LLC

[Paul Isaacs]

Hi
Can you describe how you want to use variable frame rates.

Thanks

Paul Isaacs
Technical Development Manager
Sound Devices