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Found 13 results

  1. Hello all, my question is this. Can a digital tc camera, let's pick Red Dragon, or Weapon, tc drift after the record button has been pushed and before the stop button is pushed? So if you are on 25fps, for easier math, then frame 1 gets stamped 0, is there any way for frame 3 to get stamped something other than 74? And yes, I have searched this. If you know of a link that answers this question, please post it. Thank you. If you need to increase the roll time to an hour for discussion purposes, that's fine.
  2. Announcing! Mozegear BNC Q28 TC We didn’t think it could be done, but here it is Introductory Price - $439 Shipping Starts- Today Super Small Size & Lightweight - Just 2.8 cubic inches and 1.9 ounces. Easy Set Up - Just set the controls and go. Specifically Designed For ... Virtually EVERYTHING - The Q28 was designed to work with all kinds of devices including: high-end cameras, DSLRs, and even those that may have some “unique” timecode challenges. An important feature is the especially wide variable level output, which allows the user to accurately set the Q28 to various devices. Audio + Timecode Design - The flow through audio combines timecode with audio for devices not intended to receive timecode. Locking Connectors for Dependability - Both the BNC and the 3.5mm are locking connectors, so cables stay intact. Made to Survive ----Extremely Durable - The case is made of aluminum with a support beam running through the center. The end caps are made of a thick, durable aluminum. The LED adds additional durability since there is no screen to break. We have driven a truck over it multiple times and it works great. Other Great Features - Shows timecode in hours and minutes, battery life indication, jamming and cross jamming indicator Long Battery Life with AAA’s- Just 2 AAA alkaline batteries will run for approximately 16 hours. Accurate - High quality TCXO crystal with proven accuracy 2 Year Warranty Made in the U.S.A.
  3. INTRODUCING THE Tig Q28 The Most Incredibly Small Timecode Generator Only 1.9 oz and 2.8 cubic inches Introductory Price $439 Pre-orders are being now being taken. Shipping to begin Monday of next week (8/4/14). KEY FEATURES NEW “Show” Position - This setting shows the current timecode in hours and minutes. High Level Accuracy Design - The Q28 has the same high quality TCXO (.5 ppm) and software as the Tig. Variable Timecode Output Level - Works well with all cameras and smart devices due to the 15 adjustable settings between 20mV and 3V. Flow Through Audio - It has an additional 1/8” connector that will combine audio & timecode into a single output. This allows the Tig to work well with devices that do not have timecode inputs (i.e. DSLR’s). LED Indicator - The LED shows many things including “low battery”, battery depleted, and if the unit is jamming. It also evaluates the incoming timecode rate and notifies the user if it is cross-jammed. Supports All Standard Frame Rates - 23.976, 24 25, 29.97, 29.97DF, 30, 30DF. Long Battery Life - Two AAA batteries will support 16 hours of run time. Durable Design - The chassis is made from aluminum with a center support beam through the case. Batteries are housed in a battery tube and will remain secure even when dropped. Incredible Small Size & Lightweight - It weighs only 1.9 oz and 2.8 cubic inches, (size:0 .5” x 2.125” x 2.625”). Mounting brackets - Optional mounting brackets are currently being tested and will be available soon. Connectors - There are 3 connectors on the Q28. There is one 1/8” connector that is for the audio input. The second 1/8” connector is for either jam input, tc only output, or “flow through audio”. The Lemo 5 pin is for either jam input or tc only output. Made and Serviced in the U.S. with a Two Year Warranty
  4. NEW QL Timecode Generator We would like to announce the newest member of our Tig Q family which is the QL. It offers all of the accuracy, features, and size of the Q28 but without the Lemo. We know that some users just want a locking connector but don’t necessarily need the Lemo. Now the QL fits those users at the lower price. Intro Price - $399 Top Feature Highlights Proven Tig software design that works well with all types of cameras, recorders, and even “i devices” Quick and simple set up for easy use Locking 3.5 connector Durable design with center beam - We have run over it repeatedly with a truck and it still works fine. “Flow through Audio” to work well with devices not intended for timecode (i.e. any recorder, DSLR’s...) 2 year limited warranty Now for a FREE QL To introduce the QL we are offering a free QL “give away” (drawing) for those who “share” the QL on facebook. The drawing will be next Tuesday at 5pm EST. (This “give away” is also available to those in Europe.) So share away... Check out more about the QL at: http://www.mozegear.com/#!tig-ql/cn3s
  5. Hi Everyone, I want to introduce our company MozeGear and announce our first product. MozeGear is a new U.S. company formed to design and manufacture unique audio products specifically for the television and film industry. We want to announce the “TIG” (which stands for timecode generator). Highlights of TIG’s feature list are: Miniature size (similar to a dollar bill folded in half) Accurate & high quality TCXO Sturdy anodized aluminum case with a hinged battery door Variable level output NEW FEATURE, “Flow Through Audio” combines audio and timecode by putting timecode on the tip and audio on the ring. This feature enables the user to input both audio and timecode into devices that were not meant for timecode (such as DSLR’s and some recorders). LED timecode discrepancy indicator Made & serviced in U.S. List Price $449 Introductory price $399 (until Nov 30th 2013) Our introductory price gives you a chance to get to know us. Expected Release Shipping should commence in one to two weeks. Where can you see a TIG? Pre-release versions of the TIG will be showing for the first time at AES this weekend in New York (Javits Center from 10/17 to 10/20). Both Professional Sound Services and Gotham have a pre release version of the TIG. You can speak to Christina Wittich from Gotham or Rich Topham from Professional Sound. For those located in LA, Location Sound and Trew LA also have pre-release versions. Feel free to call with any questions or look at our website. Laurie Webb 480-292-9060 lauriew@mozegear.com www.mozegear.com
  6. The compact size and apparent simplicity of the :pulse is deceiving. It’s actually our most advanced and feature-packed piece of timecode technology yet. Yes, beyond the diminutive aluminum casing lies unrivalled timecode and metadata innovation, presenting a camera accessory that offers a single box solution to streamlining production workflows. Use the :pulse to generate Timecode Buddy’s signature brand of super accurate timecode and genlock, sync with zero drift and use the integrated WiFi to share all of this information to multiple iPads. But we didn’t stop there. The :pulse was designed to be the perfect partner to the ARRI Alexa, offering users full wireless camera control and status monitoring, access to full metadata and lens motor control conveniently from an iPad or iDevice. http://www.timecodebuddy.com/products/pulse/
  7. So today I had a shoot with 3 Red Epics and I took my lemo 5 TC cable and BNC-lemo 5. But then there was the horror: TC on the Epic body without breakout, seems to be lemo 4 . Aside from Red pissing me off all day, I don't want this to happen again. So I'm trying to find out to make a cable like Devendra did in this thread: But I can't seem to find the schematics for some connectors. I found this: http://www.sounddevices.com/notes/recorders/xl-lb2-wiring/ and http://www.sounddevices.com/notes/recorders/time-code/xl-lx-wiring/ but I can't seem to find the schematics for lemo 4, XLR and different jack-connectors. Any ideas? Did I forgot a common connector?
  8. I do nature sound recording as hobby and have done projects where the dialogues I recorded were synced using plural eyes. The only time code I knew was punching in and out in my day job. Now I have access to a SD 702T and am wondering how do I use time code with a C300 camera. We will have a manual slate for the takes in the project. Though I have read the C300 manual about timecode, I have no idea how to go about it, as I have never done it. Can someone please be kind enough to answer this basic question. I don't have access to any other hardware like timecode buddy etc (never touched it, just read in this forum). How do I learn? I hope the experts here can atleast point me towards some resource so that I can learn.
  9. TIG Timecode Generator Durability Test I love durability tests and think they are so much fun. So we decided to do a video showing the TIG (timecode generator) being driven over by a truck and dropped off the back. It survived very well (especially considering we drove over it about 20 times and dropped it over 30.) So here's a TIG and a truck: https://plus.google.com/112281036772159173979/posts Laurie 480-292-9060 lauriew@mozegear.com www.mozegear.com
  10. I'm trying to feed my slate with off speed TC for a music video playback (via Comteks). The display though shows/updates to my numbers very spottily - and the reception LED mostly stays on red no matter what levels I'm sending. I have the slate on READ (dip 4 + 5 are on) and also have dips 1,2,3 as off, off, on - according to the manual. Anybody know of ways to trick the slate into behaving....? Thank you, Karl
  11. I will be starting a feature film shoot with the Sony F-55. The final delivery will be DCP, but the camera cannot record 24 FPS with the current firmware. It will only do 23.976. Since I'm in Europe, I have always been able in the last 30 years to ignore this silliness of fractional frame rates. But now I need to understand it's implications. The thing I don't understand is why some timecode generators and audio recorders have a separate 23.976 fps setting. We would have a TC generator on the camera, synced to the audio recorder (Sonosax R4) , which records the time of day. Both the audio files and camera files store the time of the first frame. There is no more continuous TC track as there used to be with audio and video tape recorders. Only the first frame's time of day. Audio doesn't have different frame rates. It is (usually) recorded at 48'000 samples per seconds. So any FPS setting in the recorder should make no difference whatsoever to the recorded audio. And audio doesn't even record a timecode at all. What the "bext" and iXML chunks contain are samples since midnight (and the "fmt " chunk contains the samples per second). The timecode itself is calculated afterwards by the software using the file (like Avid, etc.). I understand that at 23.976 FPS, at the end of a shot, the picture's timecode as displayed in the Avid would not match the real world time anymore, drifting by about 1 frame every 42 frames. But as long as the sync is done at the start of the picture, that shouldn't matter. If the picture plays back at the same frame rate at which it was recorded (23.976), and the sound plays back at 48K samples per second, both will stay in sync. So my questions are: When using time of day timecode, what difference does a 23.976 frame rate setting on the TC generator actually do? Of course, the difference between 24/25/30 is relevant to converting fractional seconds of the time of day into "frames". But 23.976 or 24 should make no difference. Both count frames from 0 to 23. What does any sort of frame rate setting actually do on the audio recorder? I guess it would only change the frame number in the TC output, which is fed to the external generator when syncing. As above, 23.976 or 24 should make no difference? Is a separate 24 and 23.976 setting actually only relevant to tape based workflows? Or what have I overlooked or misunderstood? Am I an idiot? (if yes, please be kind and elaborate ...) (Of course, at the end the sound will need to be stretched a little for the DCP since DCP's cannot be 23.976)
  12. Hey all, Getting into timecode and worried about whether I'm totally #$@%i@ things up or not. Followed and what a few mixers have told me (and searching on JW a bit) have told me that I could jam from the recorder to the camera and that it should be fine. Without a lockit box. However, the Alexa manual is kind of brief and doesn't mention this particular activity of the timecode. What I want to know is what the blinking Alexa TC means. After I jam from the recorder it (it being the TC numbers/digits) stays solid for awhile, but then goes back to blinking again. This recent production with the Alexa also had a lockit box, and when I used it it would stay solid generally (although sometimes it would go back to blinking unless I babysat the camera a bit to always make sure it stays solid). The AC was indicating to me the TC staying solid is a good thing. But is he right? Anyways, thanks for the help.
  13. I'm really sorry to ask a very similar question that has been asked here before but having read all the relevant topics and posts I am non the wiser. I'm here in Cardiff, UK and working with an American company coming here to shoot on a few 7Ds for the US market. I will be using a 552 with a Lockit (ACL 202CT) providing TC input, jammed to an Ambient (ACD 301) slate. After repeatedly asking what frame rate they want me to record the audio at or telling me what the cameras are doing they haven't provided me with an answers (cheers guys I think to myself). So my question is: given the lack of info provided, what TC rate would you US guys default to? I understand that if they decide after the event that they need a different TC frame rate than I initially recorded at I can batch convert in WaveAgent but would like to stand a chance of getting it right the first time. I'm torn between 29.97 ND and 23.98 or maybe 24 (aarhhh). Your best guess would be much appreciated. Thanks, Will
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