Arnold F. Posted May 5, 2009 Report Share Posted May 5, 2009 I'm trying to get an HDX900 to start my 744T but have had no luck. I've connected the TC out on the HDX to the TC Lemo on my 744T and have set the timecode mode in the 744T to EXT TC-Auto Record. I start the camera rolling but nada. Anything I'm forgetting? A. Quote Link to comment Share on other sites More sharing options...
Philip Perkins Posted May 5, 2009 Report Share Posted May 5, 2009 Are you sure your cables are good (use yr headphones to see if you hear TC on the line)? Are you sure you have the SD machine setup for the right TC? Is there a menu item on the camera to turn the TC output on or off, and to output the "stopped" TC continuously when the camera is not rolling? Does the TC from the output read on any other gear (slate, reader etc)? Philip Perkins Quote Link to comment Share on other sites More sharing options...
imagist Posted May 5, 2009 Report Share Posted May 5, 2009 Is the camera set to record run rather than time of day as the SD recorder needs to detect the change between static timecode (continually sending identical numbers) and advancing timecode or advancing timecode appearing after no timecode at all ie. plugging the cable in or switching it through? Quote Link to comment Share on other sites More sharing options...
studiomprd Posted May 5, 2009 Report Share Posted May 5, 2009 ....and of course, you could always get technical support from SD, either via their excellent support group (where this has been discussed and dealt with), their website with helpful FAQ's, or even email or telephone. BTW, I spoke with Jon and others at SD while at NAB, and they do not mind the additional traffic my advice generates for them!! They are happy to help! Quote Link to comment Share on other sites More sharing options...
Matt Mayer Posted May 5, 2009 Report Share Posted May 5, 2009 Arnold, When the HDX 900 is connected to the 744, do you see the external timecode value in the Jam Menu? If not, the 744 isn't seeing the code at all, hence it won't start. If it doesn't see code at all, I would lean towards the bad cable theory. Also, check how your adapters are wired. ---Matt Quote Link to comment Share on other sites More sharing options...
Arnold F. Posted May 20, 2009 Author Report Share Posted May 20, 2009 Senator: Many thanks for the input. I'll do that. In the meantime, your advice on this particular issue would be most appreciated. I'm sure you wouldn't have posted unless you had something to offer, right? A. ....and of course, you could always get technical support from SD, either via their excellent support group (where this has been discussed and dealt with), their website with helpful FAQ's, or even email or telephone. BTW, I spoke with Jon and others at SD while at NAB, and they do not mind the additional traffic my advice generates for them!! They are happy to help! Quote Link to comment Share on other sites More sharing options...
studiomprd Posted May 20, 2009 Report Share Posted May 20, 2009 "in the meantime" since May 5th?? if you had been on the SD forum, you would have heard back lontg before today... and on the phone, you might have been all set back on May 5 !! sorry, I have not had this problem, but like Mr. Moron, over on RAMPS, I can give you some crap suggestions, if you don't want the facts! Quote Link to comment Share on other sites More sharing options...
Npoberaj Posted May 20, 2009 Report Share Posted May 20, 2009 I had a similar problem when sending TC wireless from an HDX900 to the 744T using a lectro 200D receiver. I was hearing time code from the receiver but the TC wasnt working for some reason even when the time code seemed very loud out of the receiver head phone jack. I fixed the problem by turning the receiver output from Mid to High. Which makes me think that the 744T expects a very strong (loud) TC signal to work, in which case if you are connected by cable make sure it is not padded in any way? Just a thought. NP Quote Link to comment Share on other sites More sharing options...
Paul Graff Posted May 20, 2009 Report Share Posted May 20, 2009 Whether this is the issue in this instance, it's worth noting that the blue SD time code cables are prone to failure. They are a bad design, imo, as the cable is not well protected at the lemo end. It's a good practice to shrink wrap that end when it is new as constant bending will break the wires there. PG Quote Link to comment Share on other sites More sharing options...
Philip Perkins Posted May 20, 2009 Report Share Posted May 20, 2009 The SD recorders DO want a pretty darn loud TC feed--one disadvantage of those machines vs. my Tascam P2. The HDP2 will lock to TC down to mic level. This somewhat limits one's ability to use older wireless (like Lectro 185s etc) for TC feeds, since the RX only makes a mic level out. Philip Perkins Quote Link to comment Share on other sites More sharing options...
chris_bollard Posted May 21, 2009 Report Share Posted May 21, 2009 Phil & Paul I have to support your comments re: SD being touchy about TC level. I recently worked with Sony F35. Using my trusty surplus AT radio mic as the timecode link (as setup for Digibetacms) I could not get enough level to trigger the SD timecode reader. I had to cone out of the headphone output and crank it to max to get it to work. Would be great if the TC reader was more forgiving Quote Link to comment Share on other sites More sharing options...
Arnold F. Posted May 27, 2009 Author Report Share Posted May 27, 2009 Some information from you besides the "go someplace else with your question" response I usually get from you (both in forum or in private messages, despite my asking you to stop messaging me) is what I meant. "in the meantime" since May 5th?? if you had been on the SD forum, you would have heard back lontg before today... and on the phone, you might have been all set back on May 5 !! sorry, I have not had this problem, but like Mr. Moron, over on RAMPS, I can give you some crap suggestions, if you don't want the facts! Quote Link to comment Share on other sites More sharing options...
studiomprd Posted May 27, 2009 Report Share Posted May 27, 2009 sorry if I PM you after your request... well it is almost the end of May, and have you gotten an accurate answer that did not come from SD ?? there used to be someone active on this forum who would do the homework for people, and post the links (usually to the manufacturers' web sites) but alas, that person's feelings got hurt and now only lurks... so a lot of folks are now doing their own homework. Quote Link to comment Share on other sites More sharing options...
John Blankenship Posted May 27, 2009 Report Share Posted May 27, 2009 ...so a lot of folks are now doing their own homework. But only because you incessantly tell them to. Otherwise we'd all be lost and suffer under the delusion that we could help each other. JB Quote Link to comment Share on other sites More sharing options...
chriskellett Posted May 27, 2009 Report Share Posted May 27, 2009 I had this same type of TC issues with the F35/744T combo last year on a movie. As it turns out the TC output of the Sony was in the area of 1 volt peak to peak and the guys at SD told me that the 744T (at the time) liked to see something in the area of 3 volts peak to peak for TC. Because post was using a mono mix from the F35 to do DVD dailies with, we were hardwired to the camera for audio and TC and found that a small inline BNC 9 volt powered distribution amp helped maintain our TC feed signal in runs over 75 feet. The SD 744T will do some odd things when the TC signal is weak, make sure to use a clap sticks as well, post is sure to call. Quote Link to comment Share on other sites More sharing options...
Daniel McIntosh Posted May 28, 2009 Report Share Posted May 28, 2009 a small inline BNC 9 volt powered distribution amp helped maintain our TC feed signal in runs over 75 feet. Chris, Can you post a link to this item? Quote Link to comment Share on other sites More sharing options...
chris_bollard Posted May 31, 2009 Report Share Posted May 31, 2009 Strange about variance in TC level (1V vs 3V). I would have thought (hoped!) that TC was at a "standard" level. Or if it was such a range that the TC readers could cope with that range (and then the variance in level wouldn't matter). Guess it's a reminder to always get some extra hands on time with a new camera Quote Link to comment Share on other sites More sharing options...
jonathan chiles Posted June 14, 2009 Report Share Posted June 14, 2009 Slightly off topic: I have a shoot coming up where I will be using a SD744 recorder with the Sony EX3 camera. I was intending to send my audio mix hard wire to the camera and to use a TC slate. Would it be a better idea generally speaking to run timecode hard wired or RF from the camera back to my 744 so that audio files match the camera free run/tod TC?? I like the method Phillip Perkins advocates where the 744 runs in ext/cont mode and then camera speeds first followed by sound. I still need to have the conversation with the post guys, but is this generally prefferred over a TC slate? I really dont want to do both! Jon Chiles Quote Link to comment Share on other sites More sharing options...
Matt McGowin Posted June 14, 2009 Report Share Posted June 14, 2009 What type of production are you doing? Is it dialog being boomed for a narative or a bunch of lavs? If its run n gun ,it may be easier to have the recorder roll when it sees incoming TC. Ask the editor what they prefer. If they dont have a preference, you should do it the way that you thinks works best with the equipment/type of production that you are working with. I usually use 744T as master TC (TOD) and jam a slate. Best of luck, Matthew Quote Link to comment Share on other sites More sharing options...
jonathan chiles Posted June 14, 2009 Report Share Posted June 14, 2009 Hey Matt Its a narrative feature, not run and gun... I would prefer just to use a slate as thats what I'm used to doing. Just wondering if the matching timecode between picture and sound is becoming more of an expectation these days? And what other folks out there are doing? Jon Quote Link to comment Share on other sites More sharing options...
Philip Perkins Posted June 15, 2009 Report Share Posted June 15, 2009 Hey Matt Its a narrative feature, not run and gun... I would prefer just to use a slate as thats what I'm used to doing. Just wondering if the matching timecode between picture and sound is becoming more of an expectation these days? And what other folks out there are doing? Jon There are so many ways to skin the cat that it's best to have a meeting w/ yr posties and decide what everyone is comfortable with for this particular production. W/ a 744 there are only 4 tracks to resync, so if they will be post syncing your sound as they go (prob in Final Cut) then the TC match between cam and sound isn't very important--they probably won't be reconforming the audio for the mix (since the OMF export will have all the tracks avail. already). In that case having the TC slate match the audio TC will be helpful, and your notes will help the editor sync up your sound and you won't need to take TC from the camera at all. But as I said, your posties may have a different idea. And now for a reality check: I just finished the post on an indie feature shot on an HVX200. The soundies mostly sent sound to the camera and to a 744. The editor thankfully post synced all the 744 tracks to the cut, and the 744 stuff sounded WAY better than the audio recorded on the HVX200. Clearer, cleaner, more detailed, etc.. This was a good comparison for me... Philip Perkins Quote Link to comment Share on other sites More sharing options...
jonathan chiles Posted June 15, 2009 Report Share Posted June 15, 2009 Thanks Phillip, I hoped you would chime in as I know you work in both worlds. I will speak to the post team for my project this week and see what they prefer but sounds like the TC slate will suffice. As usual the budget is tiny and I dont want to use up the channels of RF that I have on things like TC transmission. Also was the 744 audio you speak of from your recent project at 16bit/48k same as camera? Or 24 bit? I'm sure the cameras inputs add noise and possibly effect the signal dynamics? I also worry generally about sending audio wirelessly to video cameras and then that camera track becoming the primary audio for the film(!) Of course this is the norm these days with very good sounding Lectro and Zaxcom camera links but I plan on trying to send my mix to camera hardwired if at all possible. I feel like the wireless link effects the signal dynamics and adds a little more noise. best, Jon Chiles, NY www.bigcitysound.net Quote Link to comment Share on other sites More sharing options...
martijn scholte Posted September 3, 2011 Report Share Posted September 3, 2011 shooting next week pdw 700 and SD744t camera must be in rec-run mode (dont ask me why) aes/ebu to cam want to record backup on 744t with matching TC planning on using the camera TC to my 744t TC in pref on a wire (less prone to failure IMO) any ideas especially PDW 700 menu wise project details 1080 59,94 (drop or non drop not sure) 24 bit 48000 need to create time coded MP3 files for transcribing cheers Martijn exploring my options Quote Link to comment Share on other sites More sharing options...
Michael P Clark Posted September 5, 2011 Report Share Posted September 5, 2011 I ran into this problem a couple of years ago. You will have to increase the volume of the TC coming from the camera. I used a 302, but a mix pre, or any amp would work just fine. You have to feed the SD recorder a hotter signal and no more issues. At the time, SD tweaked my 744t to accept a lower level signal, but then I had more problems with other cameras, so I had them reverse what they did, and fed the TC through a mixer first. Sucks, but it solved the issues. Doesn't appear to be an issue with all cameras/decks. My only experience with this issue has been with Panasonic machines. Quote Link to comment Share on other sites More sharing options...
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