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mlohninger

Panasonic AJ-HPX3700 P2 Varicam timecode

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I'm on a project that I'd love to hear some opinions on the workflow. It's a little bit confusing for me, and especially for post who's confused about the Varicam's internal 29.97.

 

It's a multi-cam HPX3700 varicam shoot.

It's shot on 1080/59.94i @ 24P

 

The camera wants to see timecode at 29.97 (it won't accept 23.97 without error codes).

The P2 files it delivers have timecode at 23.97.

 

Post wants audio at 23.97.

 

Lockit boxes will have to be cross jammed from 23.97 to 29.97 for the varicams.

 

Does anybody see a problem with this setup?

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yes it is confusing

I have done the very same workflow and yes it does work

and the client hired me back

what I learned was that system mode determines which  time code rate the camera  will accept 

post-72-0-03740800-1358597274_thumb.png

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Yep, since the days of the VariCam, the Panasonic MO has been 29.97 code to the external world but 29.97 or 23.976 internally.

 

Your cross-jam should work just fine.

 

Do a quick test and send it off for Post to try out.

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Yes, a cross-jam is exactly that - feeding 23.97 to a 29.97 device, or the other way around. I'm not sure if your erxtc is able to accomplish that?

 

Thanks for everybody's feedback and very glad to hear it's been done before! I'm quite curious how the down converted 23.97 timecode from the P2 files line up (frame-wise, not sync wise) with the audio...

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I felt the same way so what I did  every morning after rigging the camera would be an offset check, 

hold up the slate, roll call cameras and get the sticks

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That makes sense. Would you simply review the footage in camera? As in: playback, pause, compare slate numbers to what the camera's reading at that pause point?

 

Although now post is emailing me that an earlier test with audio at 29.97 appears to be working fine for them too. They were concerned about Avid's ability of importing mis-matched timecode into a 23.97 project.

 

Thanks very much for your feedback!

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" I'm quite curious how the down converted 23.97 timecode from the P2 files line up "

when cross-jammin timecode,  do not cross integer with non-integer TC

the 00 frames always line up between the 24 and the 30 rates (integer or non-integer)

the 30 rate #15 frame lines up with the 24 frame rate #12 frame

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The Senator is correct. Typically, in HD film dailies, during the era when most sound mixers were rolling at 30NDF timecode, we'd pull down the sound to 29.97NDF and then sync up on a "00" frame on the slate. Hours/minutes/seconds don't change between non-integer timecodes; only the frame numbers change.

 

I agree that Panasonic is peculiar in not being able to handle shooting real 23.98fps. I think there's a philosophical "NIH" problem, since they promoted 720P so strongly during the 2000s. 

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Hi,

 I worked with a HDX 3700 yesterday and couldn't engage the camera op's interest on this subject so I searched up this old thread.

 

 Can someone spell it out for me step by step?

 

 Assuming I am using a Sound Devices 6 series mixer/recorder and want to use a lock box on the camera to sync sound, what do I do if the project is at 23.98?

 

How about if the project is 29.97?

 

How about drop and non drop choices?

 

For example; do I set my mixer to 29.97 to sync the lock boxes and then, if necessary, switch the mixer to 23.98 while leaving the lock box at 29.97?

 

Do I go find the "Shooting/Recording Method" portion of the Camera's menu and make sure the settings are matched? 

 

Thank you for any help you can offer.

 

 

  

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