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ARRI timecode


Bouke
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Has anyone ever used LTC on a sound channel on an Arri shoot?

Reason, for a  custom project I've made  something to destructively change the TC on .arx / .ari files. (And the wave files that come with it.)
I'm currently building that into QT change (as well as BWF support), and I could also build it into LTC convert, but if no one will ever use it...
 

 

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2 hours ago, DanieldH said:

Would it make sense for a music video to send a music playback TC to the audio track?

Maybe in some context, but usually the editors prefer a guide track sent to the camera audio track from playback.  Slate playback TC tells them where in the music the shot starts, the guide track is a syncing guide.

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22 minutes ago, Bouke said:

Pff, I feel a rant coming up, but not sure if this gang wants to hear what I (being a seasoned editor) has to say about the subject.

 

Don't hold back, it's bad for you!  Spill it!

 

For context, the operatic feature I worked on last summer used free-run TC generated by a master clock/recorder (SD), that jammed a set of small TC boxes (Moze) that were mounted on the cameras (Venice) along with a wireless RX that was receiving playback audio, feeding an audio channel of the camera.  TC slates had playback TC transmitted to them from the playback project, that computer's ADAC locked to the same master clock.  2 hr plus movie, 5 week shoot, all was well.

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I do a lot of projects shot in a similar style to the one Philip has described - both TVCs and full Cinema releases of Opera and Musicals. Almost always between 3 and 13 ARRIs. The difference is I've NEVER been asked for Playback Timecode (I call it PBTC) on a slate - the speed my various clients move at they barely squeeze in the TOD slate for the cameras. Some have previously wanted PBTC sent to a camera audio track but more common nowadays is top mics (for absolute emergency syncing only) and TOD TC boxes on cameras (via Lemo TC ins), and I run a production recorder on TOD TC in the usual way, with playback guide audio and PBTC on an audio track that they sync in the edit in the usual way for 'normal' narrative film. I've never got to the bottom of how they go from that in the edit to a multi-cam timeline with all of the takes for a particular song stacked - but they do! Either way - I sometimes also do Audio Post on these projects and the PBTC, as both a window-burn the Editors provide on my guide video, and the LTC audio track that has gone through the vision edit (hopefully muted!) are invaluable for re-syncing with the pre-record multi-tracks.

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