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Canon C100 timecode synch

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I am working with a new camera next week...  Does anyone have any experience doing a timecode synch with a C100??  What cable is needed?  I will be using a SD633 a TIG Q28 to synch 

 

Thank you ! 

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2 hours ago, Constantin said:

Or use audio TC

I totally second that.  Clap is so 1970...

And it's free with the stuff you have, except you perhaps have to create a cable to get BNC to XLR, perhaps attenuated a bit.

 

(Do remember the BNC outputs an ugly blockwave that we call LTC.)

Do test, do NOT record too loud, -18 is more than loud enough. (Volume has no influence on the signal, loud causes crosstalk and is highly annoying for anyone who accidentally listens to the track.)
When you test, look at the waveform. It should be  blockwave. If it is spikey, you have an attenuation problem. (It might still be readable, but it's a road to disaster.)


To read the numbers and do other magic, you can use my software:

LTCconvert  (https://www.videotoolshed.com/product/ltc-convert-auxtc/ )

(For testing your setup the free demo is good enough.)

 

Bouke

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Yep, soundwise, the C100 is just a big DSLR. Audio TC and/or clap, depending on the gig (verite doc? fiction narrative? other?) and camera's willingness to have even TIG stuck on the camera... and post's level of expertise (which I only call out because ime gigs shooting with a C100 more often have less-experienced post teams than gigs rolling with Amira).

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7 hours ago, Bouke said:

... 

Clap is so 1970...

...

 

What a clueless statement.  Posturing has no place when determining workflow. You don't endear us to your software by critizing the tried and true -- and ultimately most reliable.

 

Naturally, its best place in modern workflow is alongside time code.  Then, if and/or when there are time code issues, post has a reliable fallback and the sky isn't falling. 

 

While I respect your software offerings and the options they bring to our world, when it comes to putting time code on an audio track, I would never recommend it unless all parties involved in the workflow are on board.  If the production decides to use the camera audio for the finished product (no, I'm not in favor of it, but it's ultimately not my call), and there is any time code bleed, it will result in a very uncomfortable phone call.

 

General rule -- if you deviate from standard accepted practices, it is at your own peril. 

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9 hours ago, Bouke said:

Clap is so 1970...

So's the internet...

Arpanet_logical_map,_march_1977.png

Internet WIKI

"In 1971 two researchers composed messages to each other as test data and so was started email."

 

My uncle was at MU in the 70's.

 

The clap is the one thing post wants. Low tech, low risk. 

 

 

 

 

 

 

 

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5 hours ago, John Blankenship said:

 

What a clueless statement.  Posturing has no place when determining workflow. 

 

I‘m sure it was a joke. At least part-joke. 

But I worked in various docs in the past, where there was rarely a chance to slate a take, so often it was decided to worry about that in post. Of course it’s foolish to work with a non-TC camera in such a case, but since they did, other options were needed. Some productions insisted on a PluralEyes workflow (and out of those, some said the camera‘s mic would be sufficient for it. I think they are still syncing the audio and video...) and some wanted something more reliable, which is audio TC. 

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18 hours ago, John Blankenship said:

What a clueless statement.

Hi John,

Call me arrogant if you like, and you'll probably be right.

But, with 30 years of experience in post, and with all major studios / broadcasters as clients for my software, 'clueless' is not the exact right description.

Now, go shout CAMERA / SPEED / ACTION etc in front of a nervous person, then clap, then hand me 2 hours of material on 1 PM that has to air at six.
 

And no, I do NOT want to start a pissing contest, but I am very happy to give my perspective from the post side of things.

 

Bouke

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2 hours ago, Bouke said:

Hi John,

Call me arrogant if you like, and you'll probably be right.

But, with 30 years of experience in post, and with all major studios / broadcasters as clients for my software, 'clueless' is not the exact right description.

Now, go shout CAMERA / SPEED / ACTION etc in front of a nervous person, then clap, then hand me 2 hours of material on 1 PM that has to air at six.
 

And no, I do NOT want to start a pissing contest, but I am very happy to give my perspective from the post side of things.

 

Bouke

 

Only "clueless" in that you're making it an "either/or" when it shouldn't be.  Use time code whenever possible and ALSO clap the slate when possible and all bases are properly covered. 

 

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Hi John,

Since you're not interested in making it interesting, let me piss over it;

In the last 12 years I've only seen slates when shot by the clueless.
Every DSLR has an internal clock, that can be synced (up to half a second accurate) to the sound device.

That is quite some backup.

 

Now, how much video post experience do you have?
(Do not answer, this is an arrogant rhetorical question.)

 

Bouke

 

 

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In my experiences with consumer cameras, post is always fine with a TC slate and clap. There's been only a handful of instances in my career where audio TC has been requested and I'm happy to oblige. I just don't want to give an editor a nasty surprise when they first hear that TC audio track with headphones on.

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Need to specify shoot style.

In many low budget, low profile docs, a clear reference track on cam (wired or wireless) would probably be more post friendly 

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On 5/12/2018 at 11:25 PM, ShubiSnax said:

 There's been only a handful of instances in my career where audio TC has been requested and I'm happy to oblige. 

 

Yes, they don’t request it often, because they still don’t know about it. 

Just last week I was working with this very experienced DP who would bring in his own Blackmagic camera to supplement what was otherwise an Alexa shoot. He didn’t even know that it could record audio! Or even record TC that way

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