api Posted April 11, 2013 Report Share Posted April 11, 2013 I am trying to find a way to work with true 24P timebase using SD664 as the sound recorder and a PIX240 mounted on a Scarlet-X to record 24P Quicktime proxy files. PIX240 is fed with a scratch track via a Lectrosonics SRb in a Ambient Vslot adapter. I am outputting 1080p24 genlock signal from PIX 240 to a RED Scarlet-X and timecode as well. Video File resolution rate on PIX 240 is set to 1080p24/23.976. Sync Out is set to 24P. Timecode is in Freerun mode. Project time base on the Scarlet is set to 24 and SDI output is set to 24hz. Everything works OK as long as the Scarlet-X powered up and feeds the PIX 240 with a 24hz SDI signal. However, the instant I turn the camera off and SDI output signal on the Scarlet-X disappears, PIX 240 switches to 23.976 timecode. I have verified that this is the case with the monitor function of the jam menu on 664. When I turn the camera back on, the timecode output on the PIX 240 reverts back to 24ND I am curious if there is a way to lock the timecode to 24P mode on the PIX240 even when there is no signal on the SDI input of the PIX240? Here is a video of the timecode generator behavior to illustrate what I mean: pix.MOV Quote Link to comment Share on other sites More sharing options...
studiomprd Posted April 11, 2013 Report Share Posted April 11, 2013 read my <cap> ... Quote Link to comment Share on other sites More sharing options...
api Posted April 12, 2013 Author Report Share Posted April 12, 2013 Ahem, please let me rephrase my question: If there is no other timecode gear available for the production and a timecode cable between 240 and 664 is out of the question... How would you maintain timecode sync between these three devices while using 24P timebase on all three of them? I've come to the conclusion that the only feasible way to do this is to switch to 23.976 timebase. The final deliverables are a 24 FPS DCP file and a 25 FPS file for broadcast, so the issue will have to be dealt with in the post. It seems to me that working in 24P is just not worth all the trouble as you are likely to run into all sorts of unexpected hiccups like this during the production. Staying in 23.976 all the way to the end and time stretching the audio during mastering is way simpler and more reliable way to do it. Quote Link to comment Share on other sites More sharing options...
wolfvid Posted April 12, 2013 Report Share Posted April 12, 2013 general notes: Pix 240 Notes SOFTWARE ver 3.01 is out March 2013. Free on the SD site. http://www.sounddevices.com/download/pix-firmware.htm Provides the following new features: http://www.sounddevices.com/download/pix-firmware/full-detail/ http://www.sounddevices.com/products/pix240i/videos/ Last update provides the following new features and changes. Fixes Fix: two missing lines when scaling from progressive to interlaced Fix: a rare problem where image could become corrupt with nine images within the same frame Fix: lockup due to rapid re-plugging of the USB keyboard Fix: 1080i50 HD-SDI input interpreted incorrectly as 1080PsF25 Fix: no SDI out time code during playback without video input connected Fix: time code hold-off not canceling when time code stops during hold-off period Fix: random rec start/stop with FS700 and time code trigger mode Fix: various other bug fixes and system improvements Change 3G-SDI output is now full 12-bit SDI input now compatible Sony F55 Interesting notes on ARRI use http://www.sounddevices.com/notes/general/pix-240i-with-arri-alexa/ New Pix 260 rack mount recorder: http://www.sounddevices.com/products/pix-260.htm Video Compression space calculatorhttp://www.digitalrebellion.com/webapps/video_calc.html Or: http://www.videospaceonline.com/ And for mobile smart phones http://www.digitalrebellion.com/webapps/video_calc_mobile.html Download a calculator for windoze: It resides on your HD and you don't need an internet connection for it to work:http://www.aja.com/ajashare/AJA_dataratecalculator_win_11-7.zip There is also a Mac version, but it is not a separate utility available for download - it’s part of their Mac driver package. For the iPhone go to the App store and search for AJA DataCalc it’s a free app. Works nicely. Sandisk memory CF card from B+H 16G is $ 80 Sept 2012 http://www.bhphotovideo.com/c/search?Ntt=Sandisk+Extreme+Pro+90+MB%2Fs+%28UDMA+6%29&N=0&InitialSearch=yes cheaper $ 60: Frys.com IF THEY HAVE THE 90 SPEED - http://www.frys.com/product/6933177?site=sr:SEARCH:MAIN_RSLT_PG Buy.com $ 95.00 -- http://www.buy.com/pr/product.aspx?sku=212751285&sellerid=15334023 Best HDSDI cable L-3CFW see WSV FAQ on cables (long document) http://wolfvid.com/datasheets/faq_cat5_cabeling_specs.pdf PIX 240 ( this table is clean on my site check link at bottom) CAMERA FRAME RATE SPEED 24 FPS 25 FPS 30 FPS 1/8 192 200 240 1/7 168 175 210 1/6 144 150 180 1/5 120 125 150 1/4 96 100 120 1/3 72 75 90 1/2 48 50 60 1x 24 25 30 2x 12 12.5 15 3x 8 8.3 10 4x 6 6.3 7.5 5x 4.8 5 6 6x 4 4.2 5 7x 3.4 3.6 4.3 8x 3 3.1 3.8 16x 1.5 1.6 1.9 32x 0.75 0.8 0.9 Equivalent Shooting Frame Rate We sell a nice low price bracket for the 240 to make it drop-proof: http://wolfvid.com/datasheets/Bracket_Pix240.pdf The sturdy aluminum handle is powder-coated black and the handles are covered with squishy comfortable bicycle foam. The bracket has a 5/8 inch receiver socket in the rear. You can use your own batteries and connect cables to all PIX 240 original connectors and you will get maximum cable lengths because you are using minimum barrels and extensions. Size – H 5-1/2” x L 11” x D 3-3/4”. US $ 200.00 We are renting Pix240 in a small bracket with NP-1 batteries good for 10 hours. $ 275/day. Forum for Pix240 only with lots of good info go to http://forum.sounddevices.com/forumdisplay.php?20-PIX-Video-Recorders And sign up. It’s easy and there is a lot of knowledge (buried). This document: Notes on the Pix240 can be found at: http://wolfvid.com/datasheets/FAQ_Pix240.pdf PRICES AND SPECS. ARE SUBJECT TO CHANGE WITHOUT NOTICE. 03/01/2013 Quote Link to comment Share on other sites More sharing options...
Matt Mayer Posted April 13, 2013 Report Share Posted April 13, 2013 Ahem, please let me rephrase my question: If there is no other timecode gear available for the production and a timecode cable between 240 and 664 is out of the question... How would you maintain timecode sync between these three devices while using 24P timebase on all three of them? I've come to the conclusion that the only feasible way to do this is to switch to 23.976 timebase. The final deliverables are a 24 FPS DCP file and a 25 FPS file for broadcast, so the issue will have to be dealt with in the post. It seems to me that working in 24P is just not worth all the trouble as you are likely to run into all sorts of unexpected hiccups like this during the production. Staying in 23.976 all the way to the end and time stretching the audio during mastering is way simpler and more reliable way to do it. This is an interesting conundrum. I will have to test whether the code really reverts to 23.976 without SDI signal or if that is just a display bug. Quote Link to comment Share on other sites More sharing options...
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