Free run timecode synch...

Hi there! How do i synch my clips that way:
V1 - 1-st camera all clips according to free run TC
V2 - 2-nd camera all clips according to in synch with V1 & free run TC
i guess there is some simple way... don't tell about multiclip cause i have about 16 tapes with more than 50 clip per each! The whole day of shooting with two cameras with free run HDV 1080i
Thanx!

Thank you both, guys, i was mistaken, since i've used only multiclip itself before. Not multiclip sequence. I guess multiclip sequence is what i need! I can get exact synch using M-Clip Seq with "starting timecode" option. It places all clips in synch on different tracks. But! Each "multiclip" is just one clip from the tape, and i cant't manage to see them together in multicam window!
If i use "overlap timecode" option, i can view several clips in multiclip window, but some parts are out of synch... I've tried different percentage, but yet no luck... ufff... what do i do wrong?
Just two cameras with exact free run timecode takes so hard to put together! Even considering my stupidity this is too much! Help!!! thank for patience

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Working with Free-Run Timecode

We have a multi-camera event coming up which will consist of 3-4 cameras. There is downtime between each segment that we are covering and I'd like to set each camera to free-run timecode so I can synch them in post. The Free run will be manually set on each camera so they won't be in perfect sync.
Once each event starts, the cameras will start rolling and roll continuously through the event and then stop and wait until the next event.
However, I know that FCP is slow in capuring footage with TC Breaks. Is this the best way to do this, or is there a better way? it looks like I'll be manually syncing anyway, but the TC's will at least get me in the ballpark. We're expecting 12-15 events, some of the cameras are lock down on particular items (clock, crowd, finish) so having a common synch image will be difficult.
Thanks.

Jake,
I don't know what kind of experience you have shooting events like this, but I'll relate some of my experiences for anyone who's interested.
Shooting live events with multiple cameras can be a lot of fun, but many times things have fallen apart for me once the event gets rolling and there's an intense pressure to not miss any of the action, even if it meant forgoing steps that would have helped me later. Preparation was key, or I'd be cursing myself in post. I've repeatedly found that there's no such thing as too much set-up time.
In the past I've used a cable to send free-run time-code from a master camera to a slave camera, but once the cable is disconnected the cameras always drift out of sync. You've stated that you're only using it to get in the ballpark though, so it should serve that purpose reasonable well. I've done a lot of multi-cam event shooting that required extensive post production and the thing that killed me was cameras shutting off and turning on at different times. Try to synchronize your shooting as much as humanly possible and you will be MUCH better off in post. TRUST ME on this! The on's and off's don't have to happen simultaneously, but the more consistent they are (and there less there are of them) the less confusion there will be in post. If a camera has to be turned off unscheduled to change the battery or something, have the shooter shoot into his hand for a few seconds after re-starting it to leave a nice visual cue of the edit point. (Also, don't wait as long as I did to learn about FCP's DV Start/Stop Detect feature!) I should add that I didn't have any problems working with free-run footage in FCP, but it depends a lot on your workflow goals and how you choose to capture it.
Also, I find that the most accurate way to synchronize video tracks in these messy situations is often by listening to their associated audio (even when using a wireless I try to always use one channel for the onboard mic)--unless you use a clapboard consistently it can be much easier to hear when audio is a frame out of sync than by looking at a visual cue in different footage from different angles (assuming the sound is reaching each camera at roughly the same time).
Part of my preparation for these events involved developing a pattern by which the event would be edited, and sticking with it. Most events involve some sort of activity which repeats, and I learned to shoot with each cycle's edit pattern in mind. I'm the first to encourage editing creativity and variation, but there have been so many times where I wished I had shot with a clearly-defined edit pattern in mind as opposed to chasing after creative shots that I then had to struggle mightily to even make use of in post.
I also learned to ensure that each shooter has a clearly-defined role. When everyone would swing around wildly trying to catch whatever eye-catching thing happened next, I'd end up with 4 identical wildly-swinging shots! Also, having one shooter assigned to cover the whole event with only a very smooth, very wide, "as-if-this-is-getting-broadcast-live-right-now" shot will save your butt many times over in post.
Another thing--you can never have too many cut-aways. If you think about it, if you come back with 60 different wildcard shots, and you're producing a 1-hour program, that only leaves you with one cut-away per minute! These are easy to get if there is a crowd involved by moving from person to person and rolling for about 10 seconds on each, but they have to be recorded while an actual event is taking place. When I would try to grab my crowd shots during downtime, it resulted in cut-aways that made it seem like the audience was entirely uninterested in the event taking place. Another thing I never seemed to have enough of were crowd reaction shots, like applause and laughter, because often all of us shooters were too busy frantically zooming in on the bucking bronco or the rodeo clown.
Didn't mean for this to get so long, but post-producing live events can be a real beast and I made a whole lot of mistakes before finally starting to get the hang of it. These days, I think recording live-to-tape with a field switcher is the only way to go, but that's just not always practical.
Good luck!
Zap
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Free run timecode - batch capturing

Hi, In FCP I'm trying to capture a whole tape shot with free run timecode and several breaks. I've set On timecode break to 'make a new clip' in preferences/general. When I click 'capture now' it captures the first clip then goes into an eternal loop trying to capture the second. What am I missing?

Free run code has it's uses, don't hate it, just hate it when it's used where it doesn't belong.
For example with the DVX and/or hvx, if you are shooting, for example, a concert with a bunch of cameras, that all have to be moving around and not able to be tethered to a single code source, if you put all the cameras in a little pile and, using ONE remote, preset a code and throw them all into free-run, then they're all locked together. Just fire them up and shoot. Tape and card changes are a snap and fast too, and when it's time to make your multiclips, they fall right into place.
Another good use is two or three camera big long corporate meetings, where the beloved clients drone on for hours.
But some ninny doing a run and gun with free run is just begging for someone to do him serious bodily harm.

Batch capturing free run timecode.

Hi,
I have just been through and logged 3 hour tape which was recorded on free run timecode. I have just tried to batch capture it all and it isnt working because of the timecode discontinuity.
Is their a way I can override this? Any help would be appreciated as this is a nightmare for me.
Thanks very much,
Simon.

Won't recording in capture now make each timecode break it's own clip?
Yes. As it should be. If it didn't, then the timecode would be right for the first clip, but then all the others, the timecode would be wrong.
Or is there a way to set it up so that it makes it one clip?
Yes...if you turn off deck control. Switch it to UNCONTROLLABLE DEVICE. But then you lose any and ALL reference to timecode, and timecode is GOLD to an editor. Why? Because if the drive with the media dies, all you need to do is recapture the footage and your edit will be rebuilt. Or, if you deleted the media and needed to recapture it at a later date, then you could. If you capture with NO reference timecode, and you lose the media....your edit is gone, and you'll have to rebuild the cut from scratch.
But, do that if you want. Just know what the consequences might be.
Shane

How to use FCP with tapes that have free run timecode

i have a bunch of tapes the were shot with 4 x Sony HDV-Z1P cameras. the timecode was set to free run in the cameras and all the cameras were synced by resetting the timecode on all the cameras at the same time. and on each tape the cameraman has buttoned on and off probably 8 times a tape or so which means on free run timecode that there is timecode breaks on the tapes,
can anyone tell me the right setting i should be using in FCP so that i can capture the tapes easily (prefer to capture a whole tape in one go) and with the timecode from the tapes, so that the TC shows the jumps when the camera was not recording.
i tried capture now and setting the user preference to ' on TC break, warn after capture. but it captured without the gaps in the timecode, so when the cameraman buttons off-the captured timecode is still continous. and this means i loss matching the tc between the cameras

you need to set it to Make New Clip, no other setting will give you correct timecode for all clips ... you cannot capture accross timecode breaks and have the timecode jump to reflect those breaks. nle software does not work this way.
once you have captured your media (4 x the number of clips per reel) then you can select them all and choose Modify > Make Multicip Sequence

How can I sync free-run clips to a timeline by timecode?

I shoot weddings with multiple cameras. For shooting a lot of the pre-ceremony and reception footage, I have the ability to jam the cameras so that they have the same free-run timecode. So, as the day goes on I am recording some shots with CAM A and my other camera operator is recording shots elsewhere with CAM B. Naturally, at times both cameras are shooting simultaneously and from time-to-time we are shooting the same stuff from different angles. But, being a wedding it is impossible to slap a slate every time we want to sync up shots. So, I'm looking for an easy way to sync all of the shots from the day using the timecode.
I think this would work best, if someone knows a way to do it:
Let's just assume that CAM A shoots the first shot of the day. What I'd like to be able to do is create a timeline with the same start time as the first clip from CAM A, drop all of the clips from CAM A onto one track and be able to line up the clips by their timecode to the timeline's timecode. Then, do the same for all of CAM B's clips on Track 2. So, I would end up with 2 tracks, CAM A's clips on Track 1, CAM B's clips on Track 2 and gaps when neither camera was shooting.
I know I could choose all of CAM A's clips and make a multi-camera sequence by timecode which would add the gaps between the clips, but this also puts each clip on a different track. It's also very difficult to then try and line up CAM B's clips with CAM A's. There is a way to do it by nesting the multi-cam sequences, but it's way too complex and doesn't make for easy editing since you can't see the individual clips.
The only way I've figured out to achieve what I'm wanting to do is to make a timeline that has the same start time as CAM A's first clip and manually drop each clip, one-by-one, onto the timeline using its start timecode as my reference. As you can imagine, with several hundred clips per camera, this is very time-consuming.
If anyone knows a better way to achieve what I'm looking for, please let me know.
Thanks!

Jim Simon wrote:
Even with that feature, though, you'd end up with an eight hour sequence.
That's true, but I could take out the gaps pretty easily. Plus, I usually separate the day into sections anyway, such as Pre-Ceremony, Post-Ceremony, Reception, etc.
Jim Simon wrote:
It'd be a better feature request, I think, if you could designate selected clips as Camera 1, then other clips as Camera 2, etc. Then have PP create a sequence with all timecodes synced to each other, each camera's clips on their corresponding track. This would eliminate gaps where nothing was shot, which you'd get a lot of syncing the cams to a sequence timecode.
That's true, but beggars can't be choosers and I'd be happy just being able to sync clips to the timeline by timecode. I did submit the feature request though. Thanks for the link!

Premiere Pro CS4: Timecode issues (Scene Detect, Free Run)

Hi folks,
I am most familiar with Premiere Pro CS3. In the past, I have created multi-camera sequences that are synchronised by timecode. I have been shooting using the Free Run timecode feature across all cameras, as to maintain a sync'd timecode.
Now that I am using Premiere Pro CS4 at work, I am running into a few issues in preserving my timecode values during capture. I have recorded HDV footage using two Sony Z7's. I downconvert the HDV footage into DV upon capturing - this is so that I can use the scene-detect feature, and still supposedly preserve the timecode for each media file. I captured all of the tapes using scene-detect, and the timecode values were correct for each media file captured.
Having saved, closed, and reopened my Premiere Project the next day, the timecode values for the majority of the media files have been reset (ie, they all start at "0:00:00:00". This is very odd! Only a few of the media files have retained their correct timecode values.
Has anyone else experienced this? Could they please shed some light on this problem or quirk? Am I taking the wrong approach in capturing/organising media? I am following the same procedure as I had done in PPro CS3.
I have since deleted the Media Cache/Preview Files, requiring Premiere to re-index, and re-conform the media files. The timecode values are still incorrect. When I select all of my media files and tell them to go 'offline', the correct timecode values re-appear.
Many thanks for your help,
Andrew

Does anyone have an answer to this problem?? I think I am having the same problem. I don't have as much experience as the others on the
forum, but basically what I tried to do was filming a multi-camera event in free run timecode, then
captured in HDV split, and assumed I could get Premiere to align the clips accordingly. Anyone have any idea how to do this????
Any help is appreciated,
Thanks,
Aaron

Batch Capture (Re-Capture) with Free Run TC

I'm batch capturing footage from 5 years ago for a client that wants another copy of their video. 1 tape was shot REC RUN timecode and it batch captured without issue. However, the 2nd tape is FREE RUN timecode and the capture utility bounces all over the place trying to find the in point. 50 clips, 0 successful captures.
Have adjusted handles, etc....no dice. I actually had re-captured this tape in CS4 a few years back and it worked fine, might have lost one clip total. Now in CS5, nada.
Let me know if anyone has an idea what I can do to make PPro park the playback right on the in point without trying to preroll, because nothing I've tried so far has worked.
For all I know it's a specific issue with CS5...dunno....I turned my back on MiniDV tape a while back and have not tried it since.
Using CS5, PC, Panasonic camcorder is the capture device.
Thanks!

Ann Bens wrote:
Why not capture the whole tape with scene detection.
Then chuck out the clips you do not want.
Ultimately this is what I intend to do if I can't find a resolution for this issue by the time I start working on the project again tomorrow. It should work, re-linking clips doesn't involve preroll or handles so I don't expect any problems going that route. I do expect to capture about twice as much footage as I actually need, as you indicated, so that will be a small hassle but that seems to be the workaround for the moment.
Thanks for the responses....if anyone else has something they'd like to add (or if anyone is aware of this kind of thing being a recognized bug) feel free to weigh in here. I might file a bug report...it seems to be that the preroll settings are not being recognized, or something along those lines.
Oh, I should also have noted that this is a fresh (er...4 week old) install of CS5 on a fresh (ahem...also 4 week old) install of Win7 x64. So there's not an application conflict...this is just an Adobe computer for all intents and purposes.

Mixing formats, free-run TC

Hello everyone,
I need some technical advice before I begin the monumental task of editing 20 hours (three days, three cameras) of wedding footage. My wife and I decided to edit our wedding movie together!
Wedding was shot primarily (90%) on two DVX-100A cameras (set at 24pA, 4:3) and a third camera, the Canon XH-A1, was used for the ceremony (set at 24f 1080i 16:9).
The final movie will be 90% DVX footage; distributed on SD NTSC DVD - 4:3 Letterbox
If I capture the DVX footage at DV-NTSC 24p (23.98) Advanced Pulldown Removal, what is the best way to capture/downconvert the Canon HDV footage to edit with the DVX-100 SD footage?
Will Canon's "24f" be compatible with Panasonic's "24pA"? Or is that irrelevant after I capture DVX-100 footage in to FCP 5.1.2?
Also, the two cameramen shooting the DVX-100s shot with free-run timecode (time of day timecode), and after capturing a few tapes I could not find a way to sync the clips (from the varying cameras)...in other words, I could not find the "time of day timecode".
I could only find "Media Start" and "Media End" which do not correspond.
In the Browser Window I opened a "Show TC" column and it just says, "Source" and "Aux TC 1 & 2 say "None".
Is there something special I need to do during or after capture?
Finally, after all is captured, should I use Multliclip to sync and edit the DVX-100 footage?
I can always sync the Canon footage by eye, as that camera was primarily used during the wedding ceremony.
BIG THANKS to all who can shed some light on my questions. : )
And thank you for bearing with me through all of my questions.
-Daniel
Mac Book Pro Mac OS X (10.4.8) FCP 5.1.2
iBook G4 Mac OS X (10.3.9)
Mac Book Pro 2.16GHz Mac OS X (10.4.8)
iBook G4 Mac OS X (10.3.9) FCP 5.1.2
Mac Book Pro 2.16GHz Mac OS X (10.4.8) FCP 5.1.2

the argument that 24pa is only meant for a film out is really sort of irrelevant. 24pa was devised as a way to reverse telecine by dropping a frame, rather than reverse telecine processing in cinema tools that 24p standard requires. it takes almost zilch processing power to get a 23.98 fps sequence back to 29.97 anyway as fcp adds the pulldown automatically when previewing via firewire or printing to tape so i don't understand why folks make the argument that 24pa is for film out only. is it not.
for your project, 24pa makes a heck of a lot sense as you edit in a 23.98 fps sequence after stripping the pulldown. you end up with video that has a lower data rate hence less compressing is done which means better looking video or more time capacity fits on a dvd.
your main problem stems from a lack of pre-production and planning. the best scenario would have been to use three of the same camera but as your main wide camera is hdv 16:9, you'll need to find a way to get it to the same frame rate and aspect ratio as the other cameras.
regarding your time code, you'll have to sync by eye.

The Heartbreak of Free Run (on tape)

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Your workflow should work. It's the way I work, and I don't have these sorts of problems. Shouldn't be a problem to see if the clips are there are not, just look at the scratch disk in the capture folder. Now I generally don't use free run, but my experience with dvx100's is that there will occasionally be a timecode break at a camera stop/start. Just to make sure we're understanding each other, do you have the following enabled in user preferences: abort capture on dropped frames and on timecode break make new clip?

Matching Free Run time code in FCP...

Hi, I just shot three dance shows with three different camera's for each show. We set the camera's on Free Run and reset both time codes at the same time but now how to I find and match up this timecode in FCP?
Is there a certain way to capture the footage for this?
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Alex

how to I find and match up this timecode in FCP?
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