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there have been a number of useful discussions here concerning wireless transmission of timecode, but i've not been able to find an answer to the following question … what are the consequences in post production of time of day timecode that has a timecode "jump" in the clip? case in point: in my quest to make life a little easier for my hard-working associates in the camera department, i have in the past considered ways of using the camera hop as a timecode device, and eliminate the bulk of the sb3 box. the lectro d4, for example, could be used as a stereo hop, with the third channel being used for tc. i've tested it, and it seems pretty solid, but when I begin messing with the d4 transmitter - powering down, removing the antennas to cause noise and dropouts - the camera (fs7 with the module) doesn't cut, but it does show a three frame glitch in the timecode before switching over to its internal generator. another thing i wonder about is the presumed "correction" that would occur when using an erx as a timecode source. if the camera wanders away from the zaxnet source, then wanders back a while later, discontinuous timecode, however slight, will inevitably result. if the camera is rolling when this correction takes place, how much of a problem is this for post production?

A few reports from users in the field on odd gain staging from the d4 into camera. Line level too quiet mic level too hot aes lines up quite nicely any thoughts? opinions? suggestions?