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  1. i am trying to sync 2 788t's. not linked together. Ive read through the manual numerous times and came up empty. ive searched on the internet to no avail. starting to get frustrated with this. I have a lemo to bnc and a standard bnc cable. Set my master to Freerun and slave to rx ex. didnt work. Any help or suggestions would be greatly appreciated. ced
  2. I have a hypothetical/theoretical question about timecode. I am not asking for any practical reason, and I have no timecode enabled equipment to test this on myself. Just a curiosity. I'm pretty sure I understand the differences between timecode and genlock/sync, namely, that timecode alone does not force synchronised recording speeds between devices, it only stamps synchronised time numbers over the top of the recordings. EG, I am aware that if one jam-syncs the timecode of multiple devices at the start of shooting, then disconnects the timecode cables, after a while, the timecodes (and thus, the recordings themselves) can/will drift out of sync. But what happens when the timecode (NO genlock) is constantly being fed, not a single jam-sync? Say, for example, you have a single audio recorder and a single camera. The audio recorder is sending timecode to the camera constantly via cable. What happens when the camera 'tries' to drift out of sync? The timecodes cannot drift out of sync (as they would if only jam-synced at the start of shooting), as that is the whole point of having constantly connected timecode cables, right? But at the same time, timecode alone will not force the recordings to sync? So...? I have been reading up online about this, and different websites seem to imply two different possibilities: A) the recording of the slave device (the single camera, in my above scenario) will simply drift out of sync from the master (the single audio recorder, in my above scenario), even though the timecodes remain the same throughout the recordings. Or as the slave recording 'tries' to go out of sync by a full frame, it 'tries' to take the timecode with it, but it cannot, so it 'jump' corrects itself. EG, as the camera 'tries' to run 1 frame slower than the timecode it is being fed, it forcibly corrects itself by adding a frame (and/or the opposite, of course). I have come across references to 'green flashes' in footage as a result of a slave camera 'trying' to drift from its incoming timecode. I guess these green flashes are the result of the camera 'adding' a frame (of green?) to force correct itself to match the incoming timecode? Or something else entirely?
  3. Hi guys, I'm new both here in this forum and in the sound mixing profession so please go easy on me. I got a call for a job, no-budget feature, got hired and then they decide to tell me they want TC. Now, I'm using an SQN with a zoom h4n and i've been trying to figure out how to do this as I've never done TC before. I read plenty, and still got more to go, but i keep coming to the same questions that remain unanswered so I'm hoping somebody here can clarify things for me. Here goes: 1. How bad, if any, will noise from the TC track bleed to the audio track? And how do I stop it from bleeding? (i read somewhere to keep the volume in the middle but I wasnt convinced) 2. Do I set the camera to DF or NDF? 3. I assume both the camera and the zoom will be "slaves" to the TC generator. I checked the F5 manual and it doesn't have an option for slave/master. Do I set it as master or will it automatically accept the TC from the generator? 4. Any other issues I should be aware? Any answers would be greatly appreciated.
  4. 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)
  5. hey all, Im kinda in a pinch, on a small budget. I will be running sound for a single person interview w/ multiple takes this sunday. I have a 788t. Limo out to bnc is the only cable i have to use. Obviously the 5d does not have a bnc in. I dont have it in the budget for a Denecke time slate or timecode buddy. Does anyone have any suggestions on a way to sync my 788t (master) to the 5d without potential for alot of drift.. the good ol hand clap? Any suggestions would be greatly appreciated. thanks ced
  6. 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.
  7. http://vimeo.com/71959025 With firmware 3.1 for the Tiny Lockit and the Lockit we added a few exceedingly powerful features. "Use your Lockit to send the camera time code to your recorder without the fear of wireless dropouts!" The new software integrates a TC transceiver mode to the units using the already existing ACN network hardware. So without additional equipment your Lockit is now a fully functional time code transmitter or receiver. Thanks to the internal generator running in the background, TC dropouts are a relic of the past. "No need to tune your Lockits with the rental ones anymore!" Using the already well accepted ACN sync broadcast we added a nifty invisible feature. The new sync broadcast doesn't stop after the first broadcast but it will resend smaller timestamps every four seconds. All receiving units will compare their internal generated time code with the highly accurate timestamp and pull up or down the generator speed until they are completely matched. This is done imperceptible and without having to press extra buttons. The only thing you’ll notice that you never get bothered again by post about drift or offset problems when using Lockits from various sources. Even more this makes the system now suitable for line-sync online editing. "Sync your Pro Tools system with all cameras during a concert shot!" When you connect your Lockit or Tiny Lockit to your PC or MAC it will be recognized immediately as Audio/ Midi device. Just select your unit in your DAW as time code source and you're ready to rock. Now you get the camera TC into your software or you can use your Session TC on your cameras. If you own a Lockit you can even wordclock sync your Audio Interface to the camera video sync. This means that you can shoot a whole festival and trust that your cameras and your audio stay in sync. Lockit Firmware Tiny Lockit Firmware Installation Guide Video Enjoy your new features Your Ambient Team
  8. Hello all, has anyone experience with the F55? We are going to shoot a TV series with 2 of those cameras for the first time. In the last few years we worked a lot with the Arri Alexa and this camera has a stable timecode generator (build by Ambient) Our workflow with the Arri is to sync them regularly (2 to 4 times a day or when there is a TC drop after a battery change) with our Aaton Cantar recorder that runs as TC-Master. The sync is done using a Denecke Syncbox. The Camera than runs in free-run synced on the incoming TC. This works very good and is really stable. I was wondering if the internal generator of the F55 is that stable. Or do we have to provide a Denecke Syncbox on every camera permanently connected to them? We know these sync-boxes do the job, but does the F55 it? Thank you in advance for the input! Kind regards from Belgium, Pedro
  9. I want to make up a cable for timecode input to my Sound Devices 552 but I can't find any information on what cable I should use. Given that the input on the 552 is TA3, I.e. 3 pins, I'm assuming that 75 ohm coaxial cable is recommended because in the 552 manual it says "For TC, 1 and 3 - ground, pin 2 - hot +". Is this correct?
  10. Hey Guys, I recently recorded a short film for a buddy of mine and used my Pro Tools 9 and Focusrite Saffire 56 interface to record 1-4 mic inputs. I am now finding that I can't export poly wav files from Pro Tools (trying to use the export file command always makes many mono files). I downloaded wave agent to see what I can do, but I have never used the program. Also, I didn't roll on all inputs all the time, so the filing naming isn't consistent for which take they are. (For example Boom_01.wav and Studio Mic_01.wav might be from the same take, but Lav 1_01.wav would be from 4 takes later as I didn't roll the lav mic on the first three takes, etc.) They do all have the right timecode start and stop, so I'm hoping that helps? (No timecode to camera, just Pro Tool's own timecode timeline). Does anyone know of a simple way for me to export these files into poly wav files for the edit suite? Thanks guys!
  11. Hi there, First post here. I'm about to start filming a contemporary dance film wich include a great part with sync playback where the dancing has to move along with the music. This is my first time doing this kind of production and I'm looking for some wisdom to reproduce an accurate master playback dupe (1h running time approx.) with timecode through my 788T SSD, or recording a reference guide track into the 788T from a CD player in order to make the syncronization possible in the editing room. The idea is to use the same master playback dupe for the shooting and editing as well. I wonder wich option suits best for the occasion: using the 788T as playback machine, or to record a reference guide track. A single Arri Alexa will be used, running at 25 fps. Due to the single camera workflow, the production will be very paused and the need for accurate playback reproduction is a must. I need some advice on the making of the master playback dupe with timecode process. I understand that I have to make a mono version of the music in one track, and timecode recorded on the other. My questions are: 1- Can I record timecode directly from the timecode output of the 788T into Pro Tools, add the mono track version of the music and then trim the timecode track to the duration of the music for finally make a stereo bounce or export both region as files (interleaved)? 2- In the case I playback the master dupe from a CD player and record the music and timecode in separated ISO tracks, will the 788T recognize the timecode from the CD? How can I do to get the timecode from the CD out of the 788T into a digital slate? 3-On the other hand, if I can playback the master dupe from the 788T in order to get a precisely reproduction of the music. Will the 788T recognize the internal timecode from the master playback dupe, or will generate one of its own, depending the timecode mode? Will the digi slate recognize the timecode coming from the master dupe if I assign its channel to an output of the 788T? Shall I route the outputs of the 788T (used for playback) into another recorder, or it's enough feeding the camera from the 788T? It's possible I'm missing other important options or questions to keep in mind. Waiting for some advice as soon as possible, thanks to you all! Sincerely, Santiago Fumagalli
  12. Hi guys I came across the new timecode buddy system which is due for release shortly. Thought I'd bring it to the forums attention for discussion. Amongst other applications, it looks like a brilliant add-on for the SD 552. It will also interface with an ipad/ iphone with a free iOS app which is a pretty cool addition! What I'm really thrilled about it the fact that the master unit has a backlit display screen. Something that's been lacking in other small time code units. If it delivers all the web site promises, I think it will become a rather popular bit of kit to own. http://timecodebuddy.com/ Check it out!
  13. I guess the biggest change for the audio side of things at NAB could arguably be wireless timecode. The Timecode buddy made a big splash in the waters. Timecode over wifi!? Wahoo! But Ambient did the same thing - currently, it doesn't speak to Idevices mind you but with their new firmware speaking to each of the ACL204's and it functioning properly I'm sure the next software update will speak to Idevices and their timecode app. Then of course - Zaxcom Nomad and their ERX1TCD's - do a similar thing. The ERX1TCD can serve as both "comtek" and/or timecode receiver. The cool thing here is on drop out, the ERX1TCD is also a generator so it continues its timecode. And guess what? All on a wifi 2.4ghz signal. Could Zaxcom not build an app for the Ipad? Technically pricing is relatively similar. So which is the better system and why? Why go with one over the other? Is wifi a reliable transmission? It sure is nice to not have to re-jam every three hours. Anybody have any experience and recommendations? What features make one better?
  14. Hi, I accidentally managed to record a whole day's shoot with my Nomad set on frame rate 30, while the picture is 25. Now post is reporting problems with it, I don't know if it's an assistant or not, but somehow I assumed they would know how to deal with it and it seems they don't. What's the easiest way/software to change the frame rate on the TC? Apparently they're using Final Cut Pro. Thanks!
  15. Please let me introduce yout to the newest member of the Ambient Clockit Network family: First of all, it has Clockit Time Code generator of course and is made out of machined aluminum. Except for the sync signal output, it comprises the full functionality of its big brother, including ACN (Ambient Clockit Network) support, metadata transfer and logging. This network capabilities also allow the Tiny Lockit to be a fully functional Timecode Transceiver. Therefor it is combining the stability of an Ambient Clockit Generator with the flexibility of a wireless TC system but without the fear of dropouts. In addition it also has most features of the ALL601, such as variable time code output level for recording TC on audio track and time code conversion between LTC / MTC (via USB) The user interface is just as easy to use as the ACL 204's. Due to its smaller form factor it is especially suitable for applications on small cameras, but also on cameras or in setups where a sync signal is not required, it is a handy solution. The Tiny Lockit will be available from January 2013 Have a look at the Tiny Lockit in our IBC video review: [ We apologize for the bad sound quality,... it was spontanious and shot on a 7D and I think we all know about the brilliant sound capabilities of a DSLR... I hope you still can enjoy it...
  16. Hey Guys, Back again for some insight. Starting my 3rd feature and we are going to be using the Alexa along with my 788t and an Ambient radio slate with one receiver. We will not be using lockits, so my plan is to have the ambient receiver on the camera and jam the slate from my 788t as much as possible. What mode is the best to work in? If we go with free run or 24 hour run, could i keep the wireless receiver off and just instruct the AC to flip it on for jamming purposes? Should we do a rec run setup? I know the camera guys wont be thrilled about me controlling camera record functions. I hear the Alexa keeps time code really well. BTW, I will not be sending a scratch track to camera.
  17. Hi, might lend myself a small gig that involves shooting with the Alexa. From what I heard from many, it is a double-system workflow shooting with it. Since the budget does not justify in investing myself with a Nomad, I'm just wondering if the Fostex FR2 with Timecode option will be able to work with Alexa, timecode compatiability wise. Much advise is needed. Thanks a lot!
  18. Hey there Having a very weird issue that just came up in post on my show right now. Im running Metacorder on my macbook Pro and using OS 10.7.4. I know that Metacorder isn't necessarily supported to run in Lion but I've had no problems my past few shows with it. Im using a fire face 800 and an Apogee Big ben Word clock to clock the fire face and my DM1000. Running metacorder in monophonic mode with between 12 and 20 tracks per day (running 8-12 hours a day) to 2 G-tech Mini firewire drives (powered locally, not bus). Ingesting timecode either from a master clock from video when we shoot on our sound stage or from an Ambient Lock-It when we shoot in the field and I use my cart. So using different gear on my cart and at the stage too (the only constant is my macbook pro and my hard drives). My problem is that no matter where we shoot or what we shoot, post has just informed me that my multi tracks are drifting and don't sync to cameras. Its not that my multi tracks are going longer than the cameras, but they are running faster so by then end of each of my wave files they are a few frames to over a minute (totally random, no pattern) faster than the cameras which are pretty close to sync with each other (Panasonic 900 cameras, 3-6 running 29.97 NDF which is what Im running). I usually break my files every hour to make it easier for post and when I do, the files are back in sync (which makes sense since metacorder time stamps the first frame of each file). I've been using metacorder for years now and I've had a few hiccups in the past but nothing like this, and nothing that happened across every file I have been recording. Post is looking at me for an answer as they have to manually sync everything now (and they have no budget for this). Any ideas out there? I know post is running Avid Media composer 5. I actually tried boom recorder 8 last shoot day since its made to run in Lion to see if that would make any difference. I know there is usually a little drift that occurs between cameras and metacorder but usually a few frames so no real syncing issues, but this has got me pulling my hair out. Thanks in advance for any advice.
  19. Currently I have a 302/DR-680 combo, and I'm interested in seeking out timecode solutions for this non-TC recorder. I've tried searching this topic until my eyes glazed over, so I thought I'd put forth 2 scenarios and a question and hopefully someone will tell me if they are plausible or worthwhile or foolish. 1. If I get a Denecke SB-3, I can keep it in my bag and send audio TC to both my DR-680 and an iPhone as a "bag slate", meaning camera ops can just pan over and take a look at the running TC, like the Nomad's visible slate. Turning the audio timecode into a BWF stamp is not a big hassle for me. 2. If I get a Denecke TS-3 or similar slate, I can use that as normal and send audio timecode back to my recorder via cheap wireless. I'm assuming timecode out keeps running when the sticks are closed. 3. Is a TC slate of any use if a camera doesn't have a lockit? Seems like you can't jam many other cameras besides the Alexa. Now I know these aren't ideal, but at least either way I'll have a nice item I can still use when I get a TC capable recorder. Thanks as always.
  20. I have not had any reported issues with syncing since using my Nomad the past few months. For the first time the other day, my friend who shot something with his Canon 5D told me he had a drifting issue towards the end/middle of one of the takes. I'm not sure if this was because it was just a mirror file, or from sending the files over the web.Working with those variables now to see if that's the case. However... I went in and saw that my TC was set to 30. He was shooting at 23.95. Does that make a difference when recording with/without using a smart slate? Thank you, -w
  21. Cool mod! Now if you could hook this up to the iPhone so that timecode runs on the iPad via wifi using the iphone as master as well as logging starts and stops to sound reports, all just by pushing record and stop:) Or (hint hint Sound Devices) add timecode out link to the cl wifi so that the the idevices can receive timecode along with its current features (similar to Zaxnet). And jump into bed with one of these sound report companies (movie slate) or allow PDF sound reports from iPad... Just some ideas.
  22. Got thinking about it be soundslikejustin's post: "A timecode slate, if required, is the property and responsibility of the sound dept, but is used by the camera dept. A traditional clap slate (at least on the jobs i work on) is solely the responsibility of the camera dept. " Why is this? I my mind, if there is a piece of equipment that is used constantly by the camera department, it should be the camera department's. I realize that sound is responsible for timecode, but does that mean we should have to bring the camera dept a slate to use and abuse? I worked on a Union show where A slate was a rental and B slate was the sound mixer's. The AC's would bring the slates to the mixer at the top of the day (leaving them their if he was currently busy), and then retrieve them once they were jammed. This would again happen at lunch. Later in the day we head a giant sound which was obviously a slate dropping. We look and see it's the B slate as the AC picks it up. The mixer knows what's up, but the AC has the nerve to go and ask me to bring the slate to the mixer (I'm the Sound Utility) because the slate is "acting funny", not even admitting they dropped it, let alone apologizing. I just think that for my kit and my money, for me to spend $1200 plus on something that the Camera department uses exclusively, doesn't really feel responsible for, and doesn't actually get me any more sound capabilities (Wireless, etc.) then I don't see the benifit. If production wants a TC slate, they should add it to the camera rental like they do if they wants a B or C slate when the mixer already has one. Thoughts/opinion?
  23. Hi all, I have a shoot coming up next week on 5DmkII. In the past I have used a Lockit box, UM100, and Lockit Buddy to get TC on 1 channel and a scratch feed on the other. I'm thinking for this gig that I may use my QRX100 w/IFB in the bag and use my ERX1TCD to feed both TC and Audio to the 5D. Just wandering if anyone out there has or is doing this and whether there are any issues or 'gotchas' I should be aware of, particularly with the ERX1TCD. I'm not 100% sure I'll have a chance to do a workflow test beforehand, unfortunately... Mixer/recorder is 788T. Talent wireless on UCR411's, QRX100 in the bag only for IFB & TC scratch feed purposes. Any replies greatly appreciated! Cheers, Jase
  24. Hello everyone. I have a shoot coming up with dual FS100's and I'm stumped on TC for this camera after reading through the manual and searching online as well as this forum. I hope you might be able to assist me. I've been asked to provide TC for the shoot. The issues I run into are as follows: The only TC I/O I can find is that TC can be dumped out from this camera via HDMI. I see no connections for accepting any incoming TC, and the manual does not state that TC can be jammed to the camera so far as I can tell. So, assuming I have read the manual correctly, the camera must function as the master TC generator, since TC only flows one direction: out. If that is correct, how could I ever jam two of these cameras? The options for TC are as follows: REC RUN & FREE RUN, but with no options to jam TC, and the only output of TC being HDMI... It's definitely a scenario in which I believe I have either missed something really simple, and I will be very happy to be corrected and can then move on happily with the shoot, or this is going to involve an education for both myself and the DP/production on the TC capabilities of this specific camera. To be clear, here are the following items I have found from the manual relating to TC. I have tried to be thorough, so that anyone who attempts to assist me doesn't have to then do research I should have first done myself: Pgs. 35 - 37 'Audio Setup': Skipped; no audio to either cam for this shoot. [*]Pg. 44 'Setting Time Data': "The camcorder records movies accompanied by time data, such as time code and user bit." 'Presetting Time Code': [*]'To Reset the Time Code': ​This option resets TC to 00:00:00:00. [*]Pg. 72 'Notes': ​This section gives menu options to set time code between 00:00:00:00 and 23:59:59:24. I see no option or information on how to accept any incoming TC here. "Time code does not advance while recording the color bars." [*]Pg. 74 'HDMI TC OUT' 'Off': ​"Does not carry the time code on the HDMI signal." [*]'On': ​"Carries the time code on the HDMI signal. The camcorder transmits the time code as digital data, not as a video signal to be displayed on the screen. The connected device can read the time code by referring to the data." [*]Pg. 79 'TC/UB SET': Gives options to set REC RUN or FREE RUN, but no options to accept incoming TC. Gives options to reset or set preset based on Pg. 44 info already listed above. [*]Pg. 93 'Troubleshooting': The time code is not recorded in sequence: The TC may not be recorded sequentially if you change the settings of HD/SD SET and HD REC FORMAT. That's it. That's everything in the manual I could find on TC. So if anyone has any information on how to do this, please submit. I have a hunch the answer might be that this device was not designed to accept incoming TC and that it should be treated like a film shoot, but again, I'm looking forward to your answers. Oh, and lastly, I had intended to use a Denecke TS-3, SD 552 and 744t bag setup. Just so you know what connections I'd be dealing with. Thanks!
  25. I thought I'd make this topic (a simple search didn't reveal one in existence already) to see how the majority of us handle the starting value of our timecode at the beginning of the day and why. So do you favor time of day or jamming zeros and why?
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