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Record Run Wireless Timecode

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So I recently had a request from a client to have a timecode workflow as such:

Red Epic (outputs ->) Ambient Nano Lockit (transmits ->) Ambient Lockit Slate/Nano Lockit (outputs ->) 2nd Red Epic and Sound Devices 788T 

This is usually fine, but the client requested that the camera provide record-run timecode to the ambient nano lockit.

 

I looked in the Nano Lockit manual, and it stated that using the TRX mode you can utilise record run once, however once you cut and go back to recording, it will not work.

 

I am under the impression that you can't use record-run timecode using the ambient network, but I was wondering if there was any other wireless timecode system that can do this?

 

   

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Unless they require the specified ambient kit - In a situation like this I have had great success with sennheiser g2 tx and multiple rx's or comteks same config

 

Tx at camera

 

Rx1 at slate

 

Rx2 at recorder

 

 I had a client that used Panasonic HDX 900's up until a few months ago and this was the exact workflow we used as they too required record run time code for their post workflow

 

-Ken

 

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As was said, the simplest way to do double system rec-run code is via a wireless TX.  We did this for years in the early tape-HD video days, (Sony 900 etc).  There are a number of issues with it, especially if you are using the incoming TC to also roll the sound recorder--particularly re: playback of the video as well as recorder-operational issues and metadata entry.  We used this method successfully as we entered the double-system-audio-with-video age, and fortunately it passed into history as free-run TC became the norm.   In this case I would want to know more about why the producers would want to use this antiquated and inefficient TC method?    When confronted with requests like this I often find that they have been promoted by a post dept that is either lazy,  has underbid the work and now realize their predicament or are ill-informed about current TC autosync methodologies (or all of the above).  Before you buy, make or rent anything I'd recommend getting an explanation of their rationale for what they are asking for.

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I believe this timecode workflow was requested by the editor, who generally works with this system (apparently). 

 

I'm trying to convince the producers to just stick to traditional free run, but waiting for the final verdict. 

 

Still very interesting to hear about older timecode workflows.

 

 

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17 minutes ago, sciproductions said:

I believe this timecode workflow was requested by the editor, who generally works with this system (apparently). 

 

I'm trying to convince the producers to just stick to traditional free run, but waiting for the final verdict. 

 

Still very interesting to hear about older timecode workflows.

 

 

Tell the editor the 90's called, it says hello

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On 12/27/2018 at 9:04 AM, sciproductions said:

I looked in the Nano Lockit manual, and it stated that using the TRX mode you can utilise record run once, however once you cut and go back to recording, it will not work.

I can't see the above anywhere in the TRX mode section of the NanoLockit quick start guide. The TRX mode will work fine with your 788T in "Ext TC-Auto Record mode" if you can cope with the concept of a camera operator having control of your recorder and the camera operator isn't trigger happy as it takes a second or so to go in an out of record via TRX. Where record run will truly come unstuck is sending record run to a 2nd camera via TRX. A 2nd Epic can't start and stop via TC and so it would have to roll after and cut before the A camera. Clunky methodology. The editor needs to catch up with the 21st century. 

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42 minutes ago, sciproductions said:

I believe this timecode workflow was requested by the editor, who generally works with this system (apparently). 

 

I'm trying to convince the producers to just stick to traditional free run, but waiting for the final verdict. 

 

Still very interesting to hear about older timecode workflows.

 

 

There are lots of ways to skin this cat, but record-run makes a lot of extra hassle for you and the cam dept while shooting.  If this is a fairly normal sort of shoot with current cameras and recorders you may find that that function doesn't work so well, since no one asks the manufacturers for it any more.  In other words, since this is now a non-standard methodology, a serious workflow test is in order if they are determined to go this way.

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    It's Non Standard as Phillip says... that being the case... Why deviate from todays standard by altering things in such a way as to make the camera dept and sound dept. reconfigure their normal standards to non normal standards. Trouble is, for the one guy, it may be his standard...

  In general,  this seems like it would increase problematic situations, or confusion, not decrease them.

  As we know, for whatever reasons there are times when things need to be tweaked to arrive at a goal in the end. The trick is to use those non standard configurations during those times only. If Sciprods (OP) didn't get any heads up as to why this was needed, IE a special filming situation, then IMHO, things should be standard.. This way, nobody is surprised and everyone knows what is expected... Except the one person in post. ;) but, you'd be doing them a favor by enlightening them to the (modern) ways.. 

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The only reasons I can think of that make shooting Rec run a good idea:
(Except shooting short clips on tape, for that Rec run is the best way.)

If you need to import QT clips in Avid, Avid does not take the embedded reelname nor does it assign a new reelname.
This 'can' make re-linking problematic.
Old FCP links based on TC and filename, but if the filename matches but there is no TC overlap in the clip, it links on frame count from clip start, that is ALWAYS wrong.
On rec run, you can have 24 hours of footage without doubling the TC anywhere, and that is 'safe' for ancient workflows.
(Even now, UMID's are not as safe as they should be, sadly.)
A lot of editing suites run quite old versions, due to 'if it works, don't fix it'.


Also, the hour digits make for somewhat low level media management. (And of course in the tape time, the first tape was labeled 'tape 1' while the start TC was 00:00:00:00, tape 2 has one hour, so at the end of a long day you always asked for the wrong tape...)


I'm the first to say that it is ancient and stupid, but Steve Martin teaches:

"Before you criticize a man, walk a mile in his shoes. That way, when you do criticize him, you'll be a mile away and have his shoes."
 

Bouke

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