aristotle_kumpis Posted March 21, 2011 Report Share Posted March 21, 2011 I own a smart slate that I use with almost every project. When I use it, I never jam the camera. I've heard many mixers on here that do both. Is there a reason why you would want to do both? Quote Link to comment Share on other sites More sharing options...
Wandering Ear Posted March 21, 2011 Report Share Posted March 21, 2011 If you only use the smart slate on screen and don't jam the camera, the editor must sync your sound files by hand using the slate clap or TC numbers on screen. If you jam the camera as well as use the smart slate, the editor can sync the footage automatically using the TC numbers embedded into the audio and video files. If there is any drift between camera and sound, then the visual smart slate and clap act as backups allowing them to adjust only the clips that have drifted. My preference on most cameras is to jam a lock it box and leave that on the camera since I find the lockit box to normally be a much more accurate generator than what the camera has. Also it isn't affected by power downs, battery changes, etc. I also use a smart slate as visual representation and backup. Hope that helps. Kelsey Quote Link to comment Share on other sites More sharing options...
Glen Trew Posted March 21, 2011 Report Share Posted March 21, 2011 I own a smart slate that I use with almost every project. When I use it, I never jam the camera. I've heard many mixers on here that do both. Is there a reason why you would want to do both? Workflows can vary a good deal from production to production, and some use the camera timecode for double system sycning, and others may not, so the reason to make it a general practice is to cover all the bases and to provide a fail-safe if something goes wrong (timecode reset, slate reset, scratch track lost, etc.). Some workflows favor syncing with the camera timecode, in which case, the timecode on the slate is the redundant backup, in which case the closing of the sticks is the second backup. When Plural Eyes is used, the other sync methods become backups 1-3. All of the methods have the chance for saving the day if the others fail, and do no harm. gt Quote Link to comment Share on other sites More sharing options...
mikewest Posted March 22, 2011 Report Share Posted March 22, 2011 If the production is using a slate for identification and a sync point why not use a smart slate. Sure jam as well but I bought two TS-3 slate to earn their keep and not sit on the shelf! mike Quote Link to comment Share on other sites More sharing options...
aristotle_kumpis Posted March 23, 2011 Author Report Share Posted March 23, 2011 I usually don't do both unless they want me to. But when I'm working on jobs just by myself, I don't have time to re-jam after power offs or battery changes. On the RED, forget it. It seems to lose sync many times throughout the day. Quote Link to comment Share on other sites More sharing options...
RPSharman Posted March 23, 2011 Report Share Posted March 23, 2011 I usually don't do both unless they want me to. But when I'm working on jobs just by myself, I don't have time to re-jam after power offs or battery changes. On the RED, forget it. It seems to lose sync many times throughout the day. This is why I have a 1/4" to Lemo cable to jam from the slate and/or a lockit for the RED. I establish early that it is my responsibility to provide the time code to the slate and/or lockit, but it is the camera department's responsibility to get the time code into the camera, either by jamming when required or by leaving the lockit attached. This has been my approach for the last 18 months, and I have found it to work both practically and diplomatically. Robert Quote Link to comment Share on other sites More sharing options...
jacefivesound Posted March 23, 2011 Report Share Posted March 23, 2011 I've had the same experience as Robert in that when working on a typical double system camera such as the red, the ACs fully expect I hand them a TC source, and are very responsible about it. I will also provide slate unless asked not to, but the TC on the slate is almost always backup. (except with my good buddy the 5D) On the reality/doc stuff I do where slates are not an option, I rarely even use a lockit. I've found that most modern cameras keep jammed TC sync just fine and don't need an external generator when set up correctly. I haven't had any kind of sync/drift issue that I can remember in over a few years. (keep in mind this is 2 cameras max, typically) Not that a lockit would be a problem, per se, but if/when drift starts happening I'm just going to take it off the camera, as I'm not going to have time to try to re set it. Quote Link to comment Share on other sites More sharing options...
mikewest Posted March 24, 2011 Report Share Posted March 24, 2011 RP, I find on commercial shoots the camera guys are so stressed that jamming time-code is their last worry! Hence a time-code slate mike Quote Link to comment Share on other sites More sharing options...
RPSharman Posted March 24, 2011 Report Share Posted March 24, 2011 RP, I find on commercial shoots the camera guys are so stressed that jamming time-code is their last worry! Hence a time-code slate mike Yes, I have never gone without the TC slate. But I feel that anything going on/into the camera is their responsibility. I had some commercial ACs on a feature with 4 RED cameras. They frequently didn't put the lockits on the camera or jam them. The editor was happy with the percentage of correct TC (with the help of our utility), but I just feel like it should not be our responsibility. It's an accessory that needs to go on the camera, just like any other. If they don't want to attach it, then they should be responsible for jamming the camera. It's a stressful business, but that doesn't mean workflow stuff can be simply be ignored. Robert Quote Link to comment Share on other sites More sharing options...
aristotle_kumpis Posted March 25, 2011 Author Report Share Posted March 25, 2011 I guess jamming would be a great way to go if your working outside in the bright sun. I was working in the bright sun at the beach, and we couldn't see the slate numbers at all. Quote Link to comment Share on other sites More sharing options...
studiomprd Posted March 25, 2011 Report Share Posted March 25, 2011 " and we couldn't see the slate numbers at all. " even on hi?? there are ways to deal with that... Quote Link to comment Share on other sites More sharing options...
aristotle_kumpis Posted March 26, 2011 Author Report Share Posted March 26, 2011 Yep, even on high. They should have had a hood or something to block out the sun. A lot of the shots were wide so that's why they had such a hard time. Maybe they should have had an AC that knew what he was doing. Quote Link to comment Share on other sites More sharing options...
Wandering Ear Posted March 28, 2011 Report Share Posted March 28, 2011 I agree with Robert, that I often will be providing the tc, but once I jam the lockit box, I hand it to camera dpt. and only mount it if they ask me to. During the day, I find it their responsibility to manage the sync box, and notify me of any issues. I'm not with the camera all day, I have my own gear to manage. What's on the camera should be operated by camera dpt. Just my opinion. Kelsey Quote Link to comment Share on other sites More sharing options...
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