Outputting timecode from timeline to tape for broadcast

I need to output to tape for broadcast using specific timecode set up in the sequence from the timeline. Looking at previous posts on the subject it looks like you cannot do it, although someone says there is a workaround for a DSR11, which is the deck I use. I also have a sony DSR50 I use for recording from a Polecam if that makes a difference, although I can't see it would. I need to start the timecode from 09:58:00:00, running bars and tone and info/countdown clock etc to start the film at a timecode of 10:00:00:00 (Pal European Broadcast). Anybody have any idea of it can be done and how exactly to do it?

Now that is very helpful... had to go and search for the remote I'd never even looked at.... and I didn't even know it had a set-up menu!
However, having now set it to external TC, and tested it with a bit of video from the timeline, it does not seem to record ANY timecode at all. Instructions say the unit "records the timecode with video and audio signals input from the DV IN/OUT connector".... but I am recording using firewire. I don't have an option to record from the computer using DV in, so I'm guessing I'm stuffed?

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Recording to a DVCPRO50 deck with timecode from timeline

Hi, does anybody knows how to to a print to tape or edit to tape, and send the timecode from the timeline and use this as a timecode reference for a deck?
Ex. from FCP5 to DVCPro50 using Firewire, the deck is set to EXT tc and using VITC, but only clips with no effects or slowmotion will send out tc, but the send out their own individual timecode from the original tape....
so how to set up FCP or the deck to use tc from the timeline....!
Otherwise U can not output with program start at a given exactly time..
sincerly Helge

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Hi
I have HDV blues with regards mixed format and multi time base.
Any help advice will be greatly appreciated.
I have never handled HDV in multiformat and multiple timebase to Mater and output for Broadcast television.
I am hoping to master to DVD directly on the configuration ( details provided below ) to deliver to NTSC and PAL market for DVD retail.
However I would need to take to a post house, one or more quicktime file to Output to Digital Betacam for television broadcast for both NTSC and PAL formats.
with regards
problems I am facing are on two fronts:
1) I am unsure of best quality and workflow to output master on Digital Betacam tape for broadcast TV in NTSC and PAL both formats.
2) With sequence set at HDV 1080 50i, and export setting as current setting, upon render and export of self contained quicktime direct from FCP timeline I face few troubling symptoms;
- that the quicktime exports 3mins to 35 minutes of qt clip but not the whole program of 90 minutes as one clip. System crashes and I have to reboot.
- Another symptom is that by doing above my time line shows aduio as out of sync to video. here i see that Audio tracks A1,A2 as being torn apart at cut edit points and have gap of 1 frame at random ( but not on all edit points ).
A3, A4 and other music and sound fx tracks have slipped off sync by few frames , again at random and also other places the edit comes back in sync with audio.
- Of course I am having to re- render this sequence timeline a zillion times even though the previously rendered files still exist in relevant folder.
Program duration: 90 minutes
current sequence : 1440 x 1080 at 50i
edit sequence time-line consists following source material directly ingested from tape via firewire in native HDV and DV:
VIDEO
-HDV footage of 1440 x 1080, 50i
-HDV footage of 1440 x 1080, 60i
-PAL footage standard and widescreen
-NTSC footage standard and widescreen
- still images
AUDIO
-AUDIO is 16 bits , 48Khz
- Voice Over is 24 bit , 48 Khz
Software: Final Cut Pro version 6
QT: 7.4.1
System configuration:
1) Mackbook pro: OS 10.4.11
graphics/ display card: GeForce 8600M GT
Hardware Overview:
Model Name: MacBook Pro
monitor: one apple cinema display 23 inch
Model Identifier: MacBookPro3,1
Processor Name: Intel Core 2 Duo
Processor Speed: 2.4 GHz
Number Of Processors: 1
Total Number Of Cores: 2
L2 Cache (per processor): 4 MB
Memory: 4 GB
Bus Speed: 800 MHz
2) Mac pro: dual core, 2.3 ghz, 3GB RAM
two apple cinema display 23 inch
All project media residing in 1TB Lacie 800 firewire external disk.

Hi guys, thanks for getting back to me. My client has now changed her mind and so I'm just mixing XDCAM and HDV 16:9 footage which is absolutely fine. Awesome. Thanks for your help!
I have one issue - some of the XDCAM footage she has given me is .MP4 video (actually each clip is a folder with 5 files in it (.MP4, .SMI, .PPN, .XML, .BIM). Do I have to convert the .MP4 into .MOV via Compressor to work with it (presumably this will compress it somewhat) or can I convert it simply and losslessly somehow (perhaps using sony XDCAM software?)
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I already have contacted them beforte you and they said from what they understand, premiere does not send timecode via sdi and they even had 3 technicians check into it and could not get it to work. So i'm at a standstill- with now both sides pointing fingers, and no resolution.- Are there any settings i may have missed? I had a bad feeling about getting answers on this issue. Is there anyway you may also make the "should be" a confirmed yes. I appreciate your attentio,time, and help in this matter. I am a recent adobe user, switching from fcp7 and avid previous to that. I was hoping to continue using premiere at my post house, but if this issue can not be resolved it will unfortunately be a deal beaker to our company.
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Hi,
You could try maybe selecting all your clips on the timeline and drag the "timecode" video effect onto it ( type the word timecode at the top of effect panel on left to find it fast )...
Then you can change it from smpte if you want -----to source or media ...something like that...or to 'generate'...use what you like best..
you can also change the codes position in the clip...
Rod

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Hi all.
I am trying to export a 30 second timeline to tape, on a Sony DSR-11. I use the Sony deck as a feed-through to a 22" TV for a real world view of what my timeline video looks like.
It has worked fine for a long time, the timeline (program monitor) playback can be viewed on my monitor and on the TV through the Sony deck.
I have the playback settings set for:
External Device: DV: 29.97 720x480i
Aspect Ratio Conversion: Hardware (If Supported)
External Audio Device
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External Device: DV: 29.97 720x480i
These settings have worked previously. Now today, when I needed to get something out overnight, I get no output to the Sony deck. I have tried a different firewire cable and have even tried connecting to my Cannon camera with the same results.
Is there another setting that I may have switched somewhere that I have overlooked? I also tried capturing from the Sony and that seems to work fine.
Any thoughts or ideas would be appreciated.
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About to output my first project for broadcast - thanks.

I am very happy to be in the final stages of my project, a 23'30" music show for broadcast here in the UK.
We're essentially a small group of friends, very much music fans, making it for pretty much no money, and all pretty much self taught. Although - these forums should take a lot of the credit in getting this, um, editor, from someone who can cobble together a home video, to being able to get something on air. Albeit in our own lo fi ind of way....
I've spent hours upon hours reading through these forums, not just questions I have asked, but anything and everything i come across that helps build my knowledge. And I never fail to be impressed by the knowledge and patience so many of you have - particularly you high volume posters - the Jim Cookmans, the Xs, the Andy Mees, the Jerry Hofmanns, and many more.
So I really just want to say thanks, your time helping us out is not taken for granted. Least not by me.
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I have my bars/tone, my clocks, slugs, timecode where it should be, checked excess luma and chroma and all that. I just want to know if there are any other housekeeping type procedures I should do and get into the habit of. eg - should I remove markers from clips that are not longer needed, or collapse Video down to one track, or that kind of thing, before i send it off.
As always any tips appreciated..
thanks again
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heee. deep breaths mate!
ok. if you really want to simulate what you'll see off air as per a 14:9 version of your master then you have to simulate what CH4 will do it ... you have to give it a 14:9 crop in a 4:3 frame.
take your 16:9 master and drop the 14:9 safe guide generator on it ... leave the guide turned on.
now nest your 16:9 master into a 4:3 sequence and blow it until the 14:9 crop area, as indicated by the blue guide, is ... cropped should be 114% or so.
turn on FCP's overlays ...see how, in this 4:3 sequence the built-in action safe and title safe overlays now overlay the burnt in guides on your nested sequence?
what you are looking at now is a shallow letterbox 14:9 cropped version of your 16:9 master. that is what CH4 will do to your 16:9 broadcast for their analog terrestrial broadcast path ... and if you kept with the title safe then your keys should be safe
if you want you can go back into your 16:9 master and disable the guide to remove the burn in on the nest, and then burn a DVD of the 4:3 (14:9) sequence. then watch it back on a 4:3 tube TV ... kind of pointless doing all this and then watching it on a 16:9 telly anyway!
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heee. deep breaths mate!
ok. if you really want to simulate what you'll see off air as per a 14:9 version of your master then you have to simulate what CH4 will do it ... you have to give it a 14:9 crop in a 4:3 frame.
take your 16:9 master and drop the 14:9 safe guide generator on it ... leave the guide turned on.
now nest your 16:9 master into a 4:3 sequence and blow it until the 14:9 crop area, as indicated by the blue guide, is ... cropped should be 114% or so.
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what you are looking at now is a shallow letterbox 14:9 cropped version of your 16:9 master. that is what CH4 will do to your 16:9 broadcast for their analog terrestrial broadcast path ... and if you kept with the title safe then your keys should be safe
if you want you can go back into your 16:9 master and disable the guide to remove the burn in on the nest, and then burn a DVD of the 4:3 (14:9) sequence. then watch it back on a 4:3 tube TV ... kind of pointless doing all this and then watching it on a 16:9 telly anyway!
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I am having a lot of trouble with this. I need to give a dvcam tape with proper timecode to a television station for a Show I edit. I am editing for this station for last 7 years. Before they accepeted betacam, but now they changed to DVCAM. I have Premiere Pro 6 (or CC) and SONY HVR M15U deck. I connected it via firewire, then realized firewire can't export timecode. Now I am in a pickle.
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realized firewire can't export timecode.
Sure it can.

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cady0139 wrote:
I can't get my files into quicktime.
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Hi There,
I am just looking for any input on how everyone is laying down there 24fps projects to tape? We have found a method that seems to be working - but is very tedious and not perfect...
Here is the lowdown:
1080p23.98 ProRes HQ sequence -----> outputting to Kona LHe Card -----> To Sony DVW-A500 D-Beta Deck.
At this point, we are getting the Kona card to add the pulldown because of the dramatic increase in quality over FCP - BUT because we are going from a NDF timecode to a DF format there are the obvious sync and drift issues.
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NOTE: Outputting a 29.97 NDF tape is NOT a valid option - because aside from commercials, this would never be accepted by a broadcaster.
Thanks again.

No such thing as a "half frame" in video. Audio, yes, video...no. Full frames only.
This is what I used to do:
http://lfhd.blogspot.com/2006/09/online-workflow-overview.html
This is what I do now:
http://lfhd.net/2008/10/22/timecode-calculator/
Figure out what my NDF timing has to be to hit the proper DF timing when outputting. But if I had to meet Discovery/NatGeo specs of needing commercials to hit on 00 frames...then I wouldn't work in 23.98 NDF timelines...nor shooting formats.
Shane

Outputting timecode from timeline to tape for broadcast

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